Only Child Tyrant Time to Run

Only Child Tyrant Time to Run
Amon Tobin's new alter-ego and alias, Only Child Tyrant, delivers an exciting new LP on his new label Nomark. Combining elements of some house, techno and angry, alternative rock, Time to Run is a dynamic release with plenty of sonic hills and valleys.
Truly fascinating track "Solid Grey Zebra" pulsates from beginning to end, with layered, scratchy sounds and clear, experimental sound design influences. It's fast-paced and encourages head-bopping from both electronic fiends and headbangers alike. The track is definitely more raw and rock-inspired than Tobin's previous releases under his own name, but the Only Child Tyrant moniker allows him to take things in a different direction.
Synth and DAW-made sounds mixed together with machine-made rock and drums make the instrumental record interesting to listen to. "Eight Bit Psyche" starts off and brings elements of chiptune layered over a thicker bass line; the high-pitched videogame sounds bring nostalgic feelings to the forefront, while also making the listener bop their head to the serious drums underneath the screechy beeping that permeates the track.
"King of Kong" is a fast-moving rock track, feeling more like an intermission or a break between two halves of the album; it clocks in at just 1:25. Speedy and heavy, "King of Kong" is a familiar guitar lick and riff, sounding almost surf-inspired with its quick drum hits.
Only Child Tyrant delivers the same high quality and interesting music that Tobin is known for. An interesting, unique indie rock album fused with elements of electronica but made by "acid dipped machines," Fugazi and Zeppelin influences are obvious, but not strained. Tobin says "It's fun to program drums that sound live and fake at the same time, to make synths sound like guitars and have guitars played by robots," and he succeeds in doing just that.
Without knowing, the album sounds like a pure, organic rock record. One wouldn't guess the difference, except for when some sounds or moans sound too synthy to be "real," like on "Time to Run," which has speckles of beeps and whirrs creeping above the "guitar." To know that it's designed through computers and machines only makes it more impressive. (Nomark)