Azmari songs are primarily aired at celebrations such as weddings, and on the whole this seems to infuse the music with a bubbly, positivist air. The lyrics can get naughty, or sound slightly surreal to Western ears, but it’s all part of the fun.
Villain doesn’t have to force her personality or her problems down your throat in an effort to show she’s trying or “solved shit” after all. This is what she’s made, and you dig it or you don’t.
It’s a great mix of demented and whacked out; albeit a sort of demented that catches you unawares – like the Devil in The Master & Margarita, it’s too suave to show all its tricks at once.
Suffice to say I think this release is tops, the gloopy, gluey sound is mired in a sort of ambient analogue fug, furring up the sonic arteries with a glut of wibbling synths and something called an Electronic Valve Instrument.
This is Sturm und Drang writ large, Hausswolff preening herself like a harpy high above the metallic clashes and stentorian parps and blurts. It’s fucking brilliant and no I really don’t fancy meeting her.
If this sort of insipid electro pop experiences a resurgence I’m doing a MacKenzie. I hope that your editor will look after my whippets.
There are a lot of seemingly unconnected sounds here but they do all combine effectively to make a remarkable set of electronic dreamscapes...
Be patient, and you should be rewarded. But it’s not a record that is going to give up its best moments lightly.
I wonder if this is the sort of record that is looking to stir up some obscure but bug-eyed revolution: taking over a carpet warehouse or something. The songs could be hymns for a cult.
Other tracks follow this loose, dubby pattern. Moondog rouses itself to shake some action in a variety of half-arsed styles, but only after it’s had a pizza and a little snooze.
Joost - the selecter and Yannick - the dj, (‘Jamaica style’) have put together a turbulent mix, the sort of thing that veers giddily between utter brilliance and total (to our ears) corporate high-gloss naff.
Ever imagined what it would have sounded like if Violet Elizabeth Bott and William Brown had formed a high-energy, pop-rock band after indulging their shared passion for Nazi crank? Well cogitate no more.
It’s a cozy, inviting, entertaining, pleasant, fun, pretty, nice listen and many more things besides. It’s canny.
It’s the sort of sound that Julie Cruise or the Blue Nile had, the sort that John Maus appropriated, a sort of Gothic bedroom synth pop
...there’s an element that sounds fresh and original, despite the fact that serious types indulging in recording industrial noises and whipping guitar samples within an inch of their life are a pound to a penny these days.
...a welter of guitars pianos, lung bursting growls and chord changes that turn slower than the Queen Mary, all happening in over ten minutes, no holds barred...
Three releases that - despite their differences in make-up, execution and background – all share a certain sombre and seasonal mood. Perfect for a winter’s listen, dark and Gothic, like a Gustave Doré print
the band’s sound is essentially lackadaisical, it’s their “thing”, their core… and as long as you can live with that, you will find that the tracks are charming enough in their own way.