gentle and evocative
kind of dream-pop music with digital effects on
the EP Mysterious Body (2006) and the album
In Flesh Tones (Absolutely Kosher, 2008), somewhat reminiscent of
The album's real protagonists are the rhythms: each song boasts its own
unique and original beatscape.
Ran is softly percussive with an oneiric coda of scratching and droning.
In Red is a more propulsive piece of evanescent guitar tones and whispered vocals.
Syncopated beats and delicate keyboard notes mold First Little Britches.
The tiny chaos of wooden percussion and orchestral sounds in
Lobster Quadrille undergoes a transformation into a surreal polyrhythm.
When the rhythms don't exist, as in the ambient vignette East Village or
in the majestic keyboard drones of Brown Sun,
the project loses most of its appeal.
Numberguts is neatly divided in two: the guitar-based threnody of the
first part is negligible, whereas the thundering variation on the Happy
Birthday melody of the second part is a gem.
Ditto for Well, whose second half is basically an android's remix of
the first part.
The weakest link of Azeda Booth's elegies is probably the vocalist, whose
register is too plain and uneventful to match the complexity of the scores,
and sometimes is a mere distraction that detracts from the magic.
The EP Tubtrek (Absolutely Kosher; 2009) contains four new songs and
four songs from the album.
The loud syncopation and dissonance of Fiji Inn Hearts seems to fight
with the vocals. Neonate (possibly the standout)
sets in motion an even more complex beatscape
that disintegrates any attempt at building a song.
The Brazilian-tinged Samoan Girls is a lightweight exercise in more
conventional dance balladry.
Squall, another peak of their art, sounds like a
drum'n'bass version of dream-pop.
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