RochaNews: Gazpacho’s Latest, MOLOK

A review copy of the latest Gazpacho showed up about three or four days ago, and I’ve been listening to it, over and over again.  My first thought: what is this?  My second thought: wow, this is really subtle.  My third thought: there’s something really profound going on here.  My fourth (and most recent) thought: this is freaking incredible.  I still need to listen with headphones, but my thoughts (collectively) after about five listens–MOLOK is a thing of intense beauty, the best Gazpacho has made since MISSA ANTROPOS.  More to come. . . .

Molok.  In English, Moloch, a king who demands the sacrifice of children.
Molok. In English, Moloch, a king who demands the sacrifice of children.


First single “Know Your Time” streaming online

NORWAY – Norwegian art-rock progressive outfit Gazpacho will release its brand new studio album Molok through Kscope this Friday, October 23. Molok can be pre-ordered on CD and LP via the Kscope web-store at: The CD version will feature an additional instrumental track “Algorithm.”

The first single, “Know Your Time,” is streaming on Soundcloud at:

1. Park Bench

2. The Master’s Voice

3. Bela Kiss

4. Know Your Time

5. Choir of Ancestors

6. ABC

7. Algorithm

8. Alarm

9. Molok Rising

Molok, the follow up to the acclaimed 2014 album Demon, sees the band continue to push the boundaries for creating the most complicated and strangest concepts for a record while simultaneously becoming the first band ever to actively try to destroy the universe with an album. A small code that sounds like a strange noise at the end of the album will cause the correction software that runs in all CD players to generate a random number every time the CD is played. If that number should correspond to the actual position of all electrons in the universe then technically the universe could be destroyed.

Dr. Adam Washington from the University of Sheffield confirms that this is science fact rather than fiction: “The random signal produced by the end of the disk contains enough bits of information to express a measurement of the total number of fundamental particles present in the universe. If the noise actually contained such a measurement, and that measurement was performed rapidly enough, the universe’s total particle count could be fixed under the Quantum Zeno effect. Locking the total particle count would prevent the pair production that forms a fundamental part of the decay of black holes. Without such decay forces, black holes would remain stable forever, without the need for nearby matter or the cosmic microwave background to keep them fed. This would greatly hasten the practical end of the universe.”

The band further commented: “If it can be destroyed by such minute creatures within it, if it is just a chemical reaction, then does it have any spiritual value? In this scenario there is no good or bad, just an absence of meaning.”

Across the album there are religious themes going head to head with modern day new science ideas and theories, Gazpacho’s Thomas Andersen states, “the album itself is about a man that sometime around 1920 decides that wherever anyone worships a God they always seem to be worshipping stone in some form. Whether it is a grand cathedral, the stone in Mecca or Stonehenge. God seems to have been chased by his worshipers into stone never to return. This harkens back to Norwegian folk myths where if a troll was exposed to sunlight it would turn to stone but it also reflects the way God has been incommunicado for a very long time.”

The band goes on to say: “In a mechanistic view of the universe all events in the universe are a consequence of a previous event. This means that with enough information you should be able to calculate the past and the future and this is what he does. He names the machine ‘Molok’ after the biblical demon into whose jaws children were sacrificed because his machine crunches numbers. On solstice day he starts the machine and it quickly gains some form of intelligence as it races through history undergoing its own evolution.”

Throughout Molok Gazpacho focuses on the idea that without God/a god to guide us, humanity is unsure of the meaning of life, that while we attempt to fill the void with other things we’ve still not found the answer; without a master to lean on we are very much alone in this universe.

On the album Gazpacho makes a direct connection with history. Norwegian music archaeologist Gjermund Kolltveit appears on the song “Molok Rising,” playing his reconstruction of stone-age instruments with an educated guess at what the early songs of worship must have sounded like. This includes small stones, moose jaws and an assortment of flutes and stringed instruments. He also plays the Skåra stone, a singing stone which has a strong possibility of having been in use since the last ice age ended 10,000 years ago. Technically this means that the album uses the oldest original instrument ever recorded on an album.

The band is also joined by world-renowned Norwegian accordion player Stian Carstensen who is a central member of Balkan-jazz orchestra Farmers Market.

Stay tuned for more information on Gazpacho and Molok, out this week on Kscope.


Gazpacho online…

One thought on “RochaNews: Gazpacho’s Latest, MOLOK

  1. Michał (npfh)

    A strange thing has happened lately with Gazpacho and myself. A band that I did not use to care much about have recorded yet another album that I love without even trying. The music is immersive. It’s sparse, with beautiful melodies and intriguing lyrics appearing and disappearing below the calm, steady surface of sound. It feels timeless and dimensionless, something very few albums can achieve.

    One of the signs of a great album: a few seconds here and there of such beauty, that the rest of the album feel unimportant.

    As for the meaning, I am intending to decipher it at some point. For the time being, though, I prefer to float with the music.

    (It might be “Demon pt. 2” musically, but as much as I tend to be put off by a band repeating themselves, here it does not bother me at all.)



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