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| EDITORIAL:
MUSIC Zero 7 When It Falls *** (3/4 stars)
Zero 7, the English, downtempo electronic duo, came out of left field in 2001 with "Simple Things" a debut album of lush, contemplative and soulful music. Their album wasn't mainstream – no pop, no hip-hop – but to this day, its songs ambiently stream within trendy boutiques, hotels and their logical extensions: hip restaurants and trendy chill lounges. The music was licensed like crazy, making it accessible to even the tragically un-hip via countless CD compilations, TV shows and commercials. Plus, the album sold more than 800,000 copies worldwide – quite nice for niche music.
Henry Binns and Sam Hardaker's approach to their second studio album echoes that of another accidental success and purveyor of lush, contemplative and soulful music – Norah Jones. Like her, Zero 7's prevailing ideology is simply, "If it ain't broke, don't fix it," and for this they should feel neither guilty nor self-conscious. While to some, their approach might seem unadventurous, it's artistically solid and commercially, it's (likely) sophomore jinx-defying. "When It Falls" opens with "Warm Sound," which resets Zero 7's basic sonic blueprint: soulful vocals (here by male singer Mozez), well-behaved basslines, warm electric keys and dreamy synths (Wurlitzer and/or Fender Rhodes and Moog, respectively) and soaring string arrangements (by the Sally Herbert-led Brilliant Strings). Granted, while this absorbing, 11-song collection features some new ingredients, it's those fundamental elements (linked to '70s soul and folk-meets-David Axelrod jazz ) that help Zero 7 successfully pave and saunter (and occasionally, meander) across safe, captivating musical ground. Producer-musicians Binns and Hardaker, with few additions, reunite the same perfectly cast musicians and singers from the "Simple Things" album and tour. Tina Dico is the most high-profile newcomer. Her higher pitched, angelic vocal quality on the first single, "Home," is an innocent contrast to the returning female vocalists – the sultry, bedroom-voiced pipes of Sia Furler and the mature, mellifluous ease of Sophie Barker. Furler and Barker made "Destiny" the standout track on "Simple Things" and again, each contributes mightily. Barker softly delivers a lover's skepticism to "Passing By" before surrendering to a toe-tapping, head-bobbing psychedelic riff built on a bassline and clavinet groove. The Barker-penned lyrics don't cut deep, since production-wise, most Zero 7 songs selfishly isolate the atmospheric marriage of vocals and instrumentation. That said, it's revelatory that what starts as mundane lyrical imagery on "Somersault" – one involving a prince, a ballerina, a parking meter and ice cream – should culminate in the sweetly sensual lyrical metaphor "you would somersault in sin with me." Furler's quirky lyrical constructs shine alongside her brilliant delivery on this sly, country-tinged waltz. It's the album's strongest track and the one – along with vibrant space-jam "Look Up" – that most expands the Zero 7 aural design. Alas, no Zero 7 review seems complete without addressing the persistent criticism that their sound rips off the French duo Air. The two groups demonstrate textural similarities, but Air are arguably music's greatest electronic beguilers: a bit pop, a bit disco, yet with inexplicable indie creditability. Their music often has a besotted, puppy-dog romantic bent. Conversely, Zero 7's music simmers and grooves, evoking sexier, spontaneous (but no less romantic) intentions. If songs are like little paintings, then Air works with watercolors, and Binns and Hardaker work with oils – richer and deeper, with darker musical colors and shadings. Ultimately, "When It Falls" is further proof that at the bottom of a Zero 7 painting lies a unique signature. |
