OF THE LAST HUMAN BEING

After thirteen years of hibernation, Sleepytime Gorilla Museum, the most gloriously uncategorizable American band in existence, has emerged from stasis to proudly announce the release of their fourth studio album, Of the Last Human Being. This album marks the first release under AVANT NIGHT'a new imprint led by Nick Ohler and supported by Joyful Noise Recordings.

Sleepytime Gorilla Museum, founded in California in 1999, has been on and off the scene for years, with this release marking their first album since 2007. The band's lineup includes multi-instrumentalists and rotating vocalists Nils Frykdahl, Carla Kihlstedt, Michael 'Iago' Mellender, Matthias Bossi, and Dan Rathbun. They play a wide array of instruments, from the somewhat standard (drums, electric guitars, bass, electric violin) to the rare (bass harmonica, nyckelharpa, marxophone) to the homemade (Slide-Piano Log, Electric Pancreas, Pedal-Action Wiggler). Their eclectic setup allows them to create a sound that defies easy categorization, pulling from contemporary classical, prog rock, industrial, metal, avant-garde improv, and beyond.

This album is a chaotic blend of genres, drawing comparisons to artists like King Crimson and Mr. Bungle, with a twist of raw experimentalism. The music isn't straightforward, and it demands full attention, but those who give it a chance will find a deeply rewarding experience. As Meredith Yayanos, symposiarch and secretary of the band's long-standing social math club, the John Kane Society, puts it, 'As this slow-rolling planetwide Anthropocene Extinction event deepens, Sleepytime's work has only grown more resonant, more prescient. What better time for them to Bring Back the Apocalypse than right now?'

Of the Last Human Being is a bold and unpredictable mix, switching from harsh and jarring moments to surprisingly beautiful passages. Each song feels like an adventure, leading listeners down winding paths without a clear destination. The album has a cinematic quality, as if it could easily score a dark, haunting film. The middle section especially stands out. The track Silverfish is a delicate yet unsettling folk piece with ghostly vocals and string arrangements that create a funeral-like atmosphere. S.P.Q.R., on the other hand, bursts with energy and brings to mind the aggressive side of King Crimson. Later, We Must Know More dips into a cabaret vibe reminiscent of The Doors, adding even more variety to the album.

The album's sequencing flows perfectly, and its closing track stirs a sense of eerie nostalgia, taking something innocent and casting a dark shadow over it. Like Phideaux, but darker, the music's experimental layers are built with homemade instruments, giving it a raw, tactile feel that's rare in modern prog.

The record shifts between aggressive, relentless energy and gentle, ethereal beauty, making it a dynamic, immersive experience. There's something primal about it, echoing nature's contrasts. This rustic, almost mystical quality'complete with field recordings'makes it feel like a twisted outdoor performance from another world. Their music, at times bashing and bucolic, enveloping and unsettling, leans towards long-form epics interspersed with mysterious field recordings, adding layers of texture and depth.

While this album might be challenging for some listeners, those who crave bold, adventurous music will find it deeply satisfying. Of the Last Human Being embodies the unique spirit of Sleepytime Gorilla Museum: a mix of chaos, beauty, and a sense of discovery. It's a visceral listen that sticks with you long after the music stops. If you're up for something different, give it a try'you might just find yourself captivated.

This the best prog record in years'

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