Unknown Mortal Orchestra
Biography
Unknown Mortal Orchestra's psychedelic masterpiece "Multi-Love" stands as a testament to the project's ability to transform personal upheaval into transcendent art. Released in 2015, this album found Ruban Nielson channeling the complexities of polyamory and cultural displacement into a swirling kaleidoscope of R&B-infused psychedelia that would define UMO's most ambitious and emotionally resonant work. The title track's falsetto confessions float over a bed of vintage synths and hypnotic rhythms, while songs like "Can't Keep Checking My Phone" capture modern anxiety with an almost telepathic precision that feels both deeply personal and universally relatable.
The story of Unknown Mortal Orchestra begins in the ashes of The Mint Chicks, a raucous New Zealand noise-rock band that served as Nielson's first serious musical outlet alongside his brother Kody. Born in Auckland to a Māori father and Filipino mother, Ruban's multicultural background would later become a defining element of his artistic identity. After The Mint Chicks disbanded, Nielson relocated to Portland, Oregon, where he worked mundane jobs while secretly crafting the lo-fi psychedelic experiments that would become UMO's calling card.
The project's origin story reads like indie rock folklore: in 2010, Nielson anonymously uploaded a track called "Ffunny Ffrends" to his Bandcamp page, crediting it only to "Unknown Mortal Orchestra." The song's irresistible blend of Beatles-esque melody, Prince-inspired funk, and bedroom recording aesthetics quickly went viral, sparking an internet mystery as music blogs scrambled to identify the mysterious artist. When Nielson finally revealed himself, he had already captured the attention of Fat Possum Records, who would release UMO's self-titled debut album in 2011.
That first album established the UMO template: warped guitar tones processed through vintage equipment, drum machines that sound like they're broadcasting from another dimension, and Nielson's distinctive voice floating through layers of analog haze. Songs like "How Can U Luv Me" and "Bicycle" showcased his ability to craft perfect pop songs that sounded like they'd been unearthed from some alternate timeline where Sly Stone collaborated with Kevin Parker's fever dreams.
The follow-up, "II" (2013), expanded the sonic palette while maintaining the project's essential weirdness. Tracks like "Swim and Sleep (Like a Shark)" and "So Good at Being in Trouble" found Nielson growing more confident as both a songwriter and producer, incorporating elements of dub, funk, and classic soul into his psychedelic framework. The album's success established UMO as one of the most distinctive voices in the contemporary psych-rock revival.
Following "Multi-Love's" critical and commercial breakthrough, Nielson continued pushing boundaries with "Sex & Food" (2018), an album that grappled with themes of masculinity, family, and social media addiction. The record's title track and standout "Not in Love We're Just High" demonstrated his continued evolution as both a lyricist and sonic architect, incorporating elements of jazz fusion and krautrock into increasingly sophisticated arrangements.
Throughout UMO's career, live performances have been equally crucial to their identity. Nielson's touring band, featuring his father Chris on drums and various collaborators on bass and keyboards, transforms the bedroom recording aesthetic into something approaching transcendence. Their festival appearances and headlining tours have cemented their reputation as one of the most compelling live acts in contemporary indie rock.
The project's influence extends far beyond its discography. UMO's DIY approach to production and distribution helped inspire countless bedroom producers, while Nielson's willingness to address complex personal and political topics through a psychedelic lens has influenced artists across genres. His exploration of mixed-race identity and colonial history, particularly evident in songs like "Multi-Love" and various interviews, has added important depth to conversations about representation in indie rock.
With 2020's "IC-01 Hanoi," recorded in Vietnam and featuring collaborations with local musicians, Nielson continued expanding UMO's global perspective while maintaining the project's essential intimacy. As Unknown Mortal Orchestra approaches its second decade, the project remains a vital force in contemporary music, proving that the most universal art often emerges from the most personal places. Nielson's ability to transform private struggles into communal transcendence ensures that UMO's strange, beautiful journey is far from
