‘Life in the Background’ is a record for wallflowers, for those who sit in the outskirts, for those who can’t help but blend in. But it’s for those who also look at things from a broader view, who take that macro perspective on interactions and situations and are able to appreciate the holistic and grandiose scale of life itself unlike most others. It’s an immensely moving piece of ambient electronic sounds, continually flurrying you with soundscapes that just evoke pure and blissful euphoria to the listener. The synths are far from being excessively loaded with pomp, instead much more reserved and subtle in their direction.
It’s a unique piece of electronic music without a doubt, loaded with so many tiny elements on each track that really have you appreciating the tiniest details of the environment around you. There’s a certain sense of happiness, a purity within that feeling, that you as a listener start to feel creep on you as the song builds more and more. I couldn’t help but start grinning through the record. The other pieces like ‘Crazed Philosophers’ are less ambient and subtle and more powerful and immersive. Nonetheless, the same intrinsic euphoric elements that Oneo Fakind bring to life come through vividly and vibrantly. And with a song named as confoundingly as The Residue of Your Voice is Like a Rotten Tooth Full of Moths, the blissful soundscape it carries is definitely bound to surprise you.
I expected something abrasive and overly experimental when I first glanced over Oneo Fakind. How wrong I was in my superficial assessment. They are an electronic project that have miles to go and are crafting melodies and soundscapes that will turn the gloomiest of days into something magical.