Mord Fustang’s Newest Album ‘9999 in 1’ [Review]
The world of EDM is Mord Fustang’s oyster – and his newest album 9999 in 1 backs this statement up with full credibility. Mord’s blend of various electronic genres joined with video-game synth beats in this album creates a unique experience for his fans old and new alike.
The “complextro” style of the up-and-coming artist’s album is every bit as progressive as it sounds; infused with deep yet bouncy basslines, glitchy breaks and smooth drops that subtly sneak up on you in a way
At the Jacksonville, FL stop on Mord Fustang’s Lick the Rainbow Tour in 2012, despite an unimpressive turnout, Fustang executed a set fit for a festival main stage that kept myself and the rest of the crowd (only about 10-15 people) on edge and dancing for hours. Nowadays, you would be lucky to have so much dancing space at one of his shows, as Mord’s popularity is increasing on a global scale. The tracks from 9999 in 1 are reminiscent of that magical, intimate show and this album is representative of how true to his style Mord Fustang has remained over the years.
The second song of the album, ‘Drivel’, reminds me of the song ‘Milky Way’ from a previous Mord Fustang album. The lengthy two minute buildup transitions into a smooth drop, which is defined by techno-house influences combined with a video-game like vibe. ‘Drivel’ is a staple within Mord’s career as a musician along with songs such as ‘No Way To Stop’ and ‘Doppelgangbanger’, which truly reflect the artist’s uniquely layered style that plays off of video game sounds and explores genres ranging from electro-house to glitch and even some dubstep.
A female vocalist is featured within the track ‘Pop’, when guest singer LIINKS switches things up with the addition of romantic, hopeful lyrics that build up to an upbeat chorus alongside some wobbly bass. This is one of the shorter tracks within 9999 in 1, but it certainly cuts right to the chase, or in this situation, cuts right to the drop. Other songs such as ‘Press Start’ display a similar style of glitch mixed with dubstep, and this blend of genres is continuously prevalent throughout Mord Fustang’s work.
‘Milky Way (pt. 2)’ is a follow-up song to Mord’s previous original track, ‘Milky Way,’ from a formerly released album. The original song is very synth-pop with a drawn out buildup, while the second part is much more straightforward and jumps into a heavy, bass-filled drop almost immediately. The two songs are similar to one another in that both tracks display an overall game-like theme, which is a reoccurring style throughout the album. The Estonian producer’s website bio reads, “70% of my body is made of video games,” and after reviewing this album thoroughly, I understand just how true that statement holds. Mord makes it clear that he wishes to express little concern for the mushy, emotional “meaning” of his music, rather he prefers to focus on the actual raw sound of his music as a whole.
This ten-track album is a slightly different approach for Mord; we usually only see single tracks and EPs produced at a time, so this album release is sure to please Mord Fustang fans from all around. He has stayed true to his gamer-influenced roots in albums old and new alike, and each track within 9999 in 1 is artfully and extraordinarily crafted.
The last song of the album, ‘The Morning After the Morning After the Pill’ is a bit unexpected, as it does not portray any of the styles executed in the majority of the album. This concluding track is melancholic but with a dramatic twist, and one might even say it comes off in a slightly depressing manner in comparison with the remainder of the album’s tracks, which contain predominantly uplifting, danceable beats. Nonetheless, the end of this album is sure to leave Mord’s audience curious and desperate to know what he’s working on next – with the plethora of genres and textures incorporated into 9999 in 1, it is but a mystery what this up-and-coming producer will leak next.