Fellow Robot Release Their Latest, Misanthropioid

By Phil Hawkins

What do you get when you mix cinematic indie rock with a bit of sci-fi spice? The result is Misanthropioid (produced by multi-Grammy winner Andrew Scheps), the latest from Southern California based Fellow Robot.

Fellow Robot originally started out as a concept piece in 2016, pulling lyrics from the sci-fi novel “The Robot’s Guide to Music” written by singer Anthony Pedroza. While deeply rooted to its origins, Misanthropioid is an album that lives closer to reality than science fiction however blurred those lines are these days.

Misanthropioid opens with “Rabbit” which from a musical standpoint sounds very much like a track that could have been released on some of the later albums by mewithoutYou. However, there is a very distinct difference in the vocal approach and delivery of front-man Anthony Pedroza. In fact it is Pedroza’s vocal gravitas that helps carry the album to exceptional heights. “Talk To Me” has a very bombastic approach as it is very drum and bass heavy making them the driving force of the track. When the chorus hits Pedroza’s vocals soar creating a grand cinematic feel. “I’m Going to Hell” closes out the first quarter of the album in a more melancholy fashion that shows both the musical and lyrical diversity of Fellow Robot early in the album.

“Comforting” is a light and airy track that plays some similarities to Panic! at the Disco and perhaps the softer side of Muse, neither of which are bad company to be in. “The Backseat” picks the tempo back up a bit with more of a cinematic feel than the previous couple of tracks which keeps the album’s contrasts in a solid ebb and flow. Once again, their are some Muse similarities but more in a “Knights of Cydonia” aspect. It’s a bigger track that utilizes the musical space it has created for itself with soaring guitars and a consistent drum and bass foundation. “Crash and Burn” has a very subtle electronic beginning that blends in to the overarching sci-fi elements laced throughout the album.

“The People Next Door” feels like an ethereal sci-fi dreamscape that you seem to just float through. It could easily be mistaken as an interlude more so than a fleshed out track. “Dull Drone” fits perfectly within the album’s third act as it would be the same space it would fill if the album were viewed as a cinematic journey rather than musical piece. “Pan” is rather enigmatic in nature as it seems to have a life of its own apart from the rest of the album yet it fits perfectly within the construct of the album as a whole. The chorus is super hook laden and catchy without being overly forced. The authentic simplicity of it is what makes it truly stand out.

As Misanthropioid draws to a close it throws a bit or a curveball as it interjects a surprisingly epic nearly ten minute track with “Poppy Fields” that pushes in to the territory of more prog rock which only enhances the cinematic scope of the album. “Red Eye Lullaby” closes out the album in grand fashion, but ultimately, “Poppy Fields” may have been a better fit for the final track given it is the grand opus that it is that would close the album in a more open ended aspect.

Overall, Misanthropioid is an audibly intricate and remarkably crafted cinematic sci-fi spectacle. It fully embraces the sci-fi aspect of things and keeps the scope larger than life while remaining intimate and approachable.

Misanthropioid is available now on Tonequake Records on all major streaming and digital platforms or you can purchase physical copies through via the band’s Bandcamp page.