Post by thesoundmonitor on Sept 24, 2004 7:00:04 GMT -5
ZOMBI
Cosmos
(Relapse/Release) RR6590-2
Much like many pubescent American males, Zombi’s Steve Moore and AE Paterra grew up on an unwholesome diet of sci-fi films and rock n’ roll. Like a pair of archetypal geeks, the pair placed their faith in characters all boldly going to where no man (sic) had ever gone before. Visual tales of space travel, twisted scientists, and the ever-popular undead inspired awe within the two, whilst the soundtracks to such became regular late-night listening sessions when the tube was off.
Fast-forward a few years, and Moore and Paterra have conducted experiments of their own to create a sound so disturbing that one cannot look away. And while space rock is no new creature, Zombi’s experiments have resulted in an altogether new experience.
Drawing heavily from the synthetics of Jean-Michel Jarre, Tangerine Dream and Goblin the duo deliver a debut rich in scientific tapestry, intriguing the space traveler within us all.
Opening with ‘Orion’ moogs and synths interplay with a repetitious funky bass pounding just beneath the surface. The percussion remains simplex and rock like, creating a sound not dissimilar to Faith No More’s ‘Zombie Eaters’ from their classic album The Real Thing.
The 10-minute epic ‘Serpens’ reminds this listener of ‘The Chariots of Fire’ with it’s pulsating bass rhythm and synth overlays, whilst the equally lengthy ‘Gemini’ follows a less rock path and into the black hole of synth-lead ambience.
It is in ‘Gemini’ that Zombi demonstrate their understanding of and respect for both the rock and sci-fi genres perfectly. At mid-point the ambient synths flare up, with Paterra chiming in with a jazz-influenced beat and Moore thumping away at that bass of his.
The album wraps up with ‘Taurus’ - a 13 minute affair that sees the band adopt drones as the main centerpiece, again with the pulsing rhythms driving the synths forward. Finally, chirrups are introduced creating the b-grade soundtrack feel, where the storyline involves giant insects taking over the city – or indeed the world!
The mere fact that the pair apparently pull their multi-instrumental compositions together in a live setting is bamboozling. However, frequent the local sci-fi and/or horror convention and you may be fortunate enough to witness such a spectacle.
With it’s passion of b-grade sci-fi and horror together with the it’s saturated use of synthesizers and bouts of white noise, fans of Namanax and Morricone Youth should settle in for long, dark night – popcorn and 3D glasses optional.
Warren Wheeler
Cosmos
(Relapse/Release) RR6590-2
Much like many pubescent American males, Zombi’s Steve Moore and AE Paterra grew up on an unwholesome diet of sci-fi films and rock n’ roll. Like a pair of archetypal geeks, the pair placed their faith in characters all boldly going to where no man (sic) had ever gone before. Visual tales of space travel, twisted scientists, and the ever-popular undead inspired awe within the two, whilst the soundtracks to such became regular late-night listening sessions when the tube was off.
Fast-forward a few years, and Moore and Paterra have conducted experiments of their own to create a sound so disturbing that one cannot look away. And while space rock is no new creature, Zombi’s experiments have resulted in an altogether new experience.
Drawing heavily from the synthetics of Jean-Michel Jarre, Tangerine Dream and Goblin the duo deliver a debut rich in scientific tapestry, intriguing the space traveler within us all.
Opening with ‘Orion’ moogs and synths interplay with a repetitious funky bass pounding just beneath the surface. The percussion remains simplex and rock like, creating a sound not dissimilar to Faith No More’s ‘Zombie Eaters’ from their classic album The Real Thing.
The 10-minute epic ‘Serpens’ reminds this listener of ‘The Chariots of Fire’ with it’s pulsating bass rhythm and synth overlays, whilst the equally lengthy ‘Gemini’ follows a less rock path and into the black hole of synth-lead ambience.
It is in ‘Gemini’ that Zombi demonstrate their understanding of and respect for both the rock and sci-fi genres perfectly. At mid-point the ambient synths flare up, with Paterra chiming in with a jazz-influenced beat and Moore thumping away at that bass of his.
The album wraps up with ‘Taurus’ - a 13 minute affair that sees the band adopt drones as the main centerpiece, again with the pulsing rhythms driving the synths forward. Finally, chirrups are introduced creating the b-grade soundtrack feel, where the storyline involves giant insects taking over the city – or indeed the world!
The mere fact that the pair apparently pull their multi-instrumental compositions together in a live setting is bamboozling. However, frequent the local sci-fi and/or horror convention and you may be fortunate enough to witness such a spectacle.
With it’s passion of b-grade sci-fi and horror together with the it’s saturated use of synthesizers and bouts of white noise, fans of Namanax and Morricone Youth should settle in for long, dark night – popcorn and 3D glasses optional.
Warren Wheeler