

Description
Moin follow their EOY-topping 'You Never End' with a pithy jazz-pilled appendix, bringing back poet Sophia Al-Maria and adding Ben Vince's circuitous horns to offset Valentina Magaletti's gummiest live rhythms. Next level biz, obvs - crucial listening whether you're into Slint, Tara Clerkin Trio, Mica Levi/Spresso, Bark Psychosis or Still House Plants.
Not exactly a continuation, 'Belly Up' is a fresh bite cooked from similar ingredients. Moin bent out the tabs last year on their third album, emulsifying the post-punk and hardcore oils that smeared their early plates with modish funk and disintegrated, industrial-strength noize. Joe Andrews, Tom Halstead and Valentina Magaletti cogitate over the same themes here, but train their senses on jazz, assembling brittle and mutable modernist shapes around impeccably springy live syncopations.
Raw, direct opener 'See' is a case in point; Qatari-American artist, writer and filmmaker Al-Maria's droll non sequiturs helped cement the aesthetic of 'You Never End' and make a welcome return, now inserted between Magaletti's sluggish marching band extemporisations and prolific collaborator Ben Vince's transcendent sax loops. Andrews and Halstead keep it restrained, tagging on deadened hardcore tangs and a nasal keyboard vamps that maps the London topography between 4Hero and Tirzah. Vince appears again on 'I'm Really Flagging (or I Trusted U)'; what sounds like a clip from the same ad-libbed workout surges next to flimsy synths and cheeky samples. It plays like a sequel, still rallying around Magaletti's exaggerated, tom-heavy patter, suggesting alternate routes to the finale.
The boxy, no-wave curdled funk that characterized 'You Never End' is reheated on 'X.U.Y.' and evaporated into a quiescent mantra, but Moin's most ambrosian moments appear when they reduce the heat. 'You Leave Me Breathless' sounds as if it's a loose, unplanned rehearsal, with AutoTuned crows melting over a long, limber patchwork of paradiddles from Magaletti. And the trio don't completely ignore the rave backroom, banging together grungy Akai-coruscated samples and 808 State synths on the greyscale 'I Don't Know Where To Look'. As always, they don't exactly boot us back to the '90s - Moin make us wonder what it might have sounded like if there was access to a different array of technology.
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