The Third Chimpanzee E.P.

Chronique

Martin Gore's first solo release since Depeche Mode's induction into the Rock & Roll Hall of Fame is an instrumental EP continuing in the vein of his 2015 album MG, a mostly successful set of cinematic IDM and experimental techno tracks. Named after Jared Diamond's book about the animal origins of human behavior, The Rise and Fall of the Third Chimpanzee, the tracks are all titled after monkeys, and most of them feature screeching, growling tones that nearly resemble human voices trapped in the machines. Opening cut "Howler" seems to crawl its way out of a sewer, beginning with slow bonks and adding moaning feedback until a sparse but brassy melody (reprised at the end of the EP) dramatically signals a full emergence. "Mandrill" is filled with jagged synth hooks, dubby echo, and intricate, steadily paced beats, but it's that screaming electronic riff that keeps the track planted in your head. "Capuchin" comes closest to sounding like the skeleton of a Depeche Mode song, with stirring effects and tiptoeing melodies rather than arena-sized hooks. "Vervet" is a lengthy techno track that bumps along at an unhurried pace, gaining sparkling tones and another eerie, nearly voice-like melody. While suspenseful, the drama never quite elevates, and it ends up being stuck in the same lane for its eight-minute duration. Like all of Gore's solo releases, The Third Chimpanzee unmistakably feels like a side project. It's intriguing to hear what sounds and moods he can create outside of the context of his band, but even compared to the more fully realized MG, the EP merely sounds tentative. However, it's worth noting that the striking cover art was painted by Pockets Warhol, a capuchin monkey, which is fascinating.

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