Zom Zoms Share "One Brain"

One Brain
Zom Zoms
©2004 Omega Point Records

(out of 5)

Future Zom Zoms CDs should come with a warning label: If you're expecting to hear something familiar, you may experience alienation which includes feeling like a stranger in a foreign land, and occasional discomfort accompanied by bouts of manic head bobbing and jaw dropping awe. In other words, the zolo* and art punk sound achieved using new wave synthesizers and spiraling vocals won't have the usual catchy pop riffs of new wave. But for some listeners it may be a welcome holiday to a strange, dark and colorful land.
Listening to One Brain then reading a mediocre review proves that a lot of music critics are full of hot air. It's almost as if they feel guilty if they enjoy hearing something that challenges their personal sense of what is functional, fashionable and simply good. Usually I'm not critical of a previous reviewer's opinion. But in this case, I think one critic did a haphazard job in the case of reviewing Zom Zom's second CD release. While I do agree with Darcie Stevens on two points - this CD is reminiscent of Devo, and "...intelligent, quirky, and rhythmic"** - I can't agree with her dismissal of the CD as "annoying, repetitive, and noisy"**. Of course music is subjective, like any other art form, and everyone has different tastes in music. I also understand that the paper she writes for is limited in space when it comes to music reviews. But she insults an active listener's intelligence when her assessment of a band's music relies on ambiguous references to the differences between art and punk, and not references to examples (tracks) that make it good, bad or somewhere in between. This is why I'm breaking my own rule. Normally I don't mention or highlight more than 5 tracks on a CD. But thanks to the Austin Chronicle's murky review, this amateur blog reviewer will mention every track to make it clear why One Brain may be worth another listener's attention.

Live or on record, Zom Zoms are brilliant at capturing attention and polarizing an audience. They succeed immediately with the spasmatic intro "Wake of Zom Zoms". It lies disturbingly between the paranormal and psychosexual and caught me off guard (even though I heard similarly disturbing lyrics in a live version of "Hyper Lenny" a few nights before). "Pray to Zom Zoms" is an absurd song that masks the ridicule of idol worship with holier than thou vocal stylings. For me, it was the real intro to a band that thrives on off the beaten path lyrics, peculiar and exciting vocals, and of course, dynamic synthesizers. This isn't just chaotic noise. It's real music. Listen to "Hyper Lenny" more than once and you might agree. It's a work of dark humor that will remind you of a cartoon, and lead vocalist/guitarist Zom is the foley artist. The sounds coming out of his mouth are as cool and quirky as any classic Saturday morning surrealism fest. My favorite track "Static" has a great chord progression that sounds almost melodic, and the lyrics are brilliant. Following that is an awful train wreck of a song - "The Cockatoo Cries "Zom!"". It's a frivolous mess, but for some reason it's so horrible it's actually good when it all unravels. I thought about skipping "Recipes Resume" because the lyrics mean absolutely nothing to me. I'd like to believe that's the point of this song. I simply can't understand it, and probably wouldn't understand it all if they gave me the lyrics. But the funky rhythm is worth mentioning. "Steve Martin Is Going Nowhere" is a merciless and funny track. I like a few movies listed in the song, so it took a lot of composure not to scowl. But it took even more composure not to crack up laughing when the actor's less auspicious movies were mentioned. "Stubborn Beast Flesh" is as disconcerting as the title indicates, and the darkest and most deeply disturbing of all the songs. "Laser" had the opposite effect. The wordplay is absurd so of course I thought it was an original song, but now I am compelled to seek out the original version by Aviador Dro. The finale is a cover of a song by The Judy's - "TV". I heard the song before at The Record Rack when I was a little kid. I thought it was a cool song then. I still do. These three music artists share One Brain very well. Overall, there are some brilliant tracks that make this a very good CD to play often. I look forward to a new release featuring adventurous vocals and synthesizers from Zom Zoms.
~ diy-danna

Photo by Elizabeth Skadden

Zom Zoms Are (left to right):
Phil Philmapster - Fabulous Keytar, Synthesizer & Vocals
Zom Philmapster - Jaw-dropping Vocals, Guitar & Synthesizer
Zoms Frenchman - Incomparable CompuRhythm, Synthesizer & Vocals
A self-titled 12" Vinyl EP is now available through Wonk Records, or at Waterloo Records and End of An Ear. A New CD Coming Soon!
Visit the band's web site: tubezomzoms.com
MySpace: Zom Zoms

*See "Zolo Synthesis" 1997 by Terry Sharkie
** Austin Chronicle Review - October 22, 2004

AUX In ATX - Local Band's First Performance

AUX
July 16, 2005*
Hole In The Wall
Austin, TX

(out of 5)

I went to Hole In The Wall with a few friends and missed the first band, but we were just in time to see AUX, a brand new band from right here in the live music capital of the world. What did I enjoyed most about AUX? The fact that this was their live debut. The energy, obvious onstage chemistry, and love of music is something that the crowd appreciated too. They started off strong with the upbeat lead vocalist, Rodney, who also plays guitar. Bass and drums were a little sluggish at first, But the lead guitarist, Cole, swung his axe and by the end of the song the crowd was impressed. By the second song I began to see life in the rhythm section, and they sounded like they'd been practicing together for two years - not two months.
~ diy-danna

*Performance notes are missing so no further detail at this time, but this blog entry will be updated with AUX's debut highlights by 11:59 PM (CST) Thursday, July 21, 2005.

Julie Dexter - Conscious LP

Conscious
Julie Dexter
©2005 Ketch A Vibe Records

(out of 5)

With Conscious, the third time is indeed the charm for the soulful U.K. singer Julie Dexter. I first heard her silky neo-soul vocals while sampling new indie music at the eclectic cdbaby.com 3 years ago, and have been looking forward to hearing more from Ms. Dexter. I had high expectations after waiting so long since her wonderful sophomore LP Dexterity, to the point of downloading mp3s from the new album before a copy of the LP was available. From hearing "Choices", the opening track, I knew her latest CD was worth the 3 years wait. She starts off with a very laidback but musically conscious vibe that is consistent throughout the album that announces a strong, "new" force of nature in R&B/Soul. Unlike many Top 40 R&B albums, Conscious has wonderfully subtle and poetic lyrics, and music that doesn't sound programmed from a keyboard or the latest software for mass consumption. Please make a mental note: Julie Dexter offers the triple threat talents of writing, performing and producing - her way. This perfect example of how wonderful diy music is and can be is reflected in her conscious decision to take creative control of her music, not being dictated by marketing trends. As a British singer of Jamaican descent in a U.S./Multinational Corporation dominated music industry, this is a risky move. But the risk has paid off in more ways than one - she's sold more than 40,000 copies of this CD since it's limited release in Fall 2004, reaching fans across the Atlantic and around the globe - and inspiring other musical artists to write their own destinies. (Just listen to the Marvin Gaye "What's Goin' On" vibe of "The Race".) And please quote me on this: Julie Dexter's "Conscious" rivals Jill Scott's gem "Beautifully Human" and Erykah Badu's underappreciated "Worldwide Underground". And she does it without relying on a copycat style. Julie Dexter has found her own voice, and that voice is clear with relaxed confidence and grace. Like her previous albums, Peace of Mind and Dexterity, she further explores her reggae roots, yet maintains her distinctive soulful jazz and funk sound in Conscious. Some of the remarkable songs include an opposite's attract heart-clencher "Like Ours", and "Show Me Now" - a beckoning slow groove with a seductive flute in the background. The title track asks the listener to question our existence, or as one biography states "re-evaluate ourselves".* Then it all unwinds with "Rain Song", a jazzy, lazy Sunday afternoon track reminiscent of the sweet and soft Abbey Lincoln. Overall, her leisurely musical meditation "Conscious" is welcome in a culture that seems dominated by mediocre talent that doesn't survive 15-minutes of fame. Julie Dexter is truly conscious in an unconscious music scene. This CD is higly recommended for R&B, reggae, and neo-soul lovers, hip-hop heads, and even jazz purists. Ketch a vibe and enjoy.
~ diy-danna

I loved every track, but here are my 3 Radio Play Picks: "Like Ours", "Look Who's Got Your Back", and "Show Me Now"

CD available at CDBaby.com, CDNow/Amazon (free mp3 downloads), and Waterloo Records in Austin, TX.

Julie Dexter web site: www.juliedexter.com

*Biographical quote courtesy of CDNow.com's Editorial Review.

Remembering Luther Vandross

Luther Vandross (1951-2005)

I fell in love with Luther Vandross' in 1984 when he sang a medley of the Carpenters' "Superstar" and Aretha Franklin's "Until You Come Back to Me" at a concert in Beaumont, TX. My mother finally decided I was old enough to attend a concert. I had really wanted to see Jesse Johnson (a one hit wonder associated with Prince and The Time) and Midnight Star that night. I thought Mr. Vandross was too mushy for me because my mom and her friends adored him. But of course, it was Luther who stole the show and my heart. He went on to become one of the best male R&B singers of all time, stealing the hearts of fans of all ages. To quote one of his closest friends, Roberta Flack, who compelled him to go solo after years in the background:

"He was a musician who couldn't help but give you all he had. He was the kind of guy who was born to do what he did musically and let the world know about it. He was not born to keep it smothered in the chest."

Luther Vandross definitely gave all he had that night at my very first concert over 20 years ago. He will be missed.

~ diy-danna

Heartless Bastards - Stairs and Elevators

Heartless Bastards
"Stairs and Elevators"
©2005 Fat Possum Records

(out of 5)
*Read the live show review here.*

Like more than a few people who listened online and bought the CD after hearing Heartless Bastards live, I felt a little disheartened with "Stairs and Elevators" at first hearing. When I finally ripped open the CD after the last show's encore I expected a polished (and less sincere) CD than hearing the band in person. But in this case, the live performance was more polished. With an amazing live sound like theirs, I understand it may be difficult for the best recording engineer in the world to capture the same magic of a live performance. However, this less than stellar production surprised me after listening to two great Fat Possum releases - rock 'n' soul king Solomon Burke's "Don't Give Up On Me" and R.L. Burnside's "A Bothered Mind". Erika Wennerstrom's honey & vinegar vocals are just as powerful as these living legends, but you may not be able to make this bold comparison by just listening to the album. Her equally profound guitar, Mike Lamping's soulful bass, and Kevin Vaughn's intense percussion also sound confined, and at times muzzled. What good is lightning in a bottle if it isn't released? But forgive the techincal limitations and listen to the heartfelt sound of the invitational "Gray". You will be hooked. There are several other standout tracks that make this CD a dream to listen to: "New Resolution", a song that reads like a journal meditation/poem; the sleepy rocker "My Maker"; "Runnin'" - a scorching track that should get serious radio play; the enigmatic slow groove of "The Will Song"; and the subdued discontent of "The Piano Song". In between are unforgettable emotional highs and lows present in great lyrics, wonderful tempo changes, and daring punk crescendos that accentuate the many shades of the blues they play so well. If you're not lucky enough to hear Heartless Bastards create an amazing alchemy of punk & blues live this year, I highly recommend "Stairs and Elevators". It's an uplifting CD (pun intended) despite it's technical flaws. I dare to hope for the release of a live CD by the winter holidays. What wonderful gifts they would be.

~ diy-danna

An abridged version of this review was originally posted July 1, 2005 @ cdnow/amazon.com.