I am utterly heartbroken to have not found this artist sooner. Since being introduced to Anil Sebastian and his work I have had it on repeat, and I have been pulled into the little world that he has created with his album: Mesonoxian. Produced by Anil himself along with his brother Ingmar and Cherif Hashizume, Mesonoxian is an expansive landscape of sound, shifting from lonely introspection to comforting snugness in the sonic maelstrom of this work.
My favourite track has to be Closer, which has wormed its way into my heart the way that smoke gets into your clothes – Anil’s voice has a uniquely breathy and delicate nature, contrasting in harmony with the booming drums and spiralling string sections. Prevalent of the rest of the album, the openings are usually delicate, dainty raindrops of sound built around the lead vocals, before steadily building towards an awesome wave of sound that is guaranteed to send shivers down your spine. The influences from Imogen Heap are clear from the offset, with the reversed strings in Closer, to the tumbling piano in Living, all led by Anil’s effortless vocals, so it was no surprise to hear that the two have collaborated before, and have plans to collaborate again.
We Both Know has been in my head for the longest time, and is definitely the most Sigur Ros that the album gets to, a total wall of sound that shows off the beautiful harmony that Anil Sebastian achieves between digital and analogue. Normally I despise artificial drums, but this is so tastefully done that it only compliments the strings and vocals to a tee. Mesonoxian is ahead of its time; a totally immersive piece of work that lyrically ranges from the deeply personal to the utterly nihilistic.
I wouldn’t say that this is album is easy to listen to, it requires time and thought, but is so worthy of that. Mesonoxian is a joy to hear, and despite its occasionally cerebral nature it is an incredible album that deserves greater praise than I can put into words. All I can say is: get it, listen to it, and let it seep in.
Words by Morton Piercewright