Azeda Booth

(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )

In Flesh Tones (2008) , 6.5/10

Canadian group Azeda Booth concocted a 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 Mum.

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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(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )
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