Gods & Monsters
A brand new age of music arrives as composer Ben Watkins takes us into uncharted territories of sonic awareness. This is the seventh awakening of Juno Reactor, which has transformed its sound through film music. From The Matrix films, Reloaded and Revolutions, to his work in the Japanese films Brave Story and Dimension Bomb, which premieres at The Kennedy Centre in Washington in February, Watkins fascination with Japanese animation makes it way in Gods and Monsters with the excellent cover painted by Koji Morimoto. Its inside Morimotos characters that Junos music currently lives, the mystery of the unknown. WARNING: DO NOT DRIVE WITH THIS MUSC ON! When the road disappears its dangerous.
The evolution of Juno Reactor defines the moment; it changes day by day as Watkins surrounds himself with the best musicians that realize a vision consumed by multiple worlds and diverse cultures. From the thriving pulse of the Inca Steppa to a peek inside a schemer with The Perfect Crime, these sonic adventures leave our world behind to enter another. Its the pulsating drums of Greg Ellis and the primitive percussion of Mabi that are the backbone of musical delights. We hear the vocal talents of Ghetto Priest, Yasmin Levy, and Ben himself, as well as those wonderfully twisted articulations that are cut, spliced, turned upside down and filtered through a demons tongue. The intensity of the Immaculate Crucifixion leads us into Las Vegas where we hear the trumpet of Byron Wallen. And its shades of The Matrix with the wonderful Ladino singer Yasmin Levi, Tigran Aleksanyan on the duduk, and zorn in the frantic middle eastern Tanta Pena. But its those last two adventures where we hear Watkinss voice dominantly emerge with the intricate acoustic guitar work of Eduardo Nielbla on The Perfect Crime and avant-garde pianist Mike Garson (David Bowie, Nine Inch Nails, and The Smashing Pumpkins), on the eyebrow raiser Pretty Girl. The performances on Gods and Monsters are brilliant, so sit back and take it in, every precious second of it.
As the light dims we hear the echoes of a life gone by in a land far, far, away. Sweet melodies from invisible thought guide us into dimensions unknown. Into the mind portals we travel eternally dancing to the reactors hum in a world consumed by gods and monsters.