Kind words have come in for Kösmonaut’s Future Machines. This comes as no surprise to us since we’ve always known how good this record was, but we’re more than happy to share with you the discerning words of others. Check out the snippets below, and follow the links to read each complete review:

Tiny Mix Tapes / Cerberus:
“It’s dangerous to start off a calendar year with a record like Future Machines because I’m not sure if it can possibly get better from here on out. Kösmonaut, their moniker teasing a kraut/prog sensibility, surge so far beyond the borders of that ridiculous genre it’s sick, approaching space from the opposite end of equally inventive bands like Kraus. Or maybe Mudboy commandeered the Star Trek Enterprise and set his phasers to ‘arpeggiate’ ”

Norman Records:
“For those unfamiliar with his outer-space bliss outs, Kosmonaut’s recordings tend to be split between gaping deep space drone marathons and more restless cosmic tomfoolery. I tend to prefer the latter, so I’m having a field day with this one, a robotically unfolding melange of looped synths, 16-bit explosions, robotic modular bleeps and fluttering bottom end.”

Terrascope:
” Right from the off you are transported to stranger realms, the pulsing sequences of “City Deterioration” blended with harsher sounds, the music constantly shifting, glancing off itself at unexpected angles meaning you are never sure where you are headed. On “Prime Meridian” the music becomes fully immersed in Tangerine Dream Mode circa 1973, the drifting soundscape and ghostly sequences dancing through your brain like a dream you are yet to experience, the trippy mood suddenly getting darker as the low drone of “Haus Machine” enter the room, an electronic heartbeat leading the piece until over-excited sequences take over, each craving your attention as they crawl all over each other.”

Tru Luv:
“For an artist unashamedly rocking the umlaut, it is of no surprise to find a significant germanic influence at play. Like much of the album, ‘Haus Maschine’ is a consummate wonderland of Berlin-esque heavy arpeggiated analogue polyrhythms, occasionally interrupted by searing saw waves which will happily rip your face off should you so oblige.”