Arthouse Fatso leans into exactly what it is: riff-forward deathgrind that centers around the mystique and controversy of Orson Welles and warps his character with left-field death metal and gritty electronics. Why watch Citzen Kane when you can listen to this four times instead?
The virtuosic and unpredictable careening and wailing of Amaya López-Carromero sells the impact of every song on Songs of Abundance, Psalms of Grief—upbeat post punk crowd-hoppers, psych-tinged and languished dirges, gothic industrial lamentations, you name it. And under it all, warmly touch instrumentals oscillate, layer, and crash to match her theatrics. Each listen something new sinks further into memory.
With a dark atmosphere crafted by hissing, oscillating synth lines and the resulting layered swells, and an existential lust defining its melodies, this collaboration of art history and surrealistic interpretation provides a treat for the curious and dream-stricken. MtM+T’s most gripping vocal highlights build around lines that appear in increasing layers, Amaya's full and classically angelic voice shimmering with a hymnal reverence and sorrow. Cozy up and drift away.
