The Song Remains The Sam

Not been much going on here, has there? Well, that should all be changing, as I wrote two (2) reviews for MIO on Sunday, the first of which is below, and there are no fewer than two (2) reviews in this month's Nightshift too, so expect plenty more coruscating opinion to come.

SAMUEL ZASADA – NIESEN EP

Sometimes it’s hard to say exactly what it is that makes an artist. Michael McIntyre, for example. Come on, his material’s not that terrible. It’s hardly comedy gold, but if other stand ups were delivering it you might give a half smile or a light chuckle, before wandering off to make a cup of tea. But something about McIntyre’s repulsive comedy style makes you want to destroy your telly. In fact, he’s so mind-meltingly infuriating, you want to throw out your flat screen and climb up to the attic to find your old cathode ray beast, just so you can have the pleasure of sticking your foot through the screen and watching as the exploding sparks shower your living room; snapping a McIntyre DVD just isn’t satisfying enough, so you have to slog back up to the attic to lug down the old VCR, record all his Comedy Roadshow routines onto VHS, solely so you can enjoy the thrill of ripping every inch of tape from the cassette and tossing it into the air whilst naked and daubed with woad.

And Samuel Zasada are the same in reverse. It’s easy to point out impressive elements of this record – the slinky bass, the warm chocolatey voice, the winning melodies – but it’s hard to work out why it’s quite so wonderful, and why it’s so enormously likely to end up on Oxford best of year lists when December rolls around. Like so much great pop music, this EP is far more than the sum of its parts, meaning that it cuts right to the heart without leaving the listener dissecting the construction as they might with classical, prog or jazz.

Despite a jarring, wistful note in the arpeggiating guitar figure in “Omit”, this EP is a little less dark than previous Zasada offerings, and the incisive rhythmic accordion stabs give the track a buoyancy that would not have been feasible in the dense introspection of Samuel Zasada, 2009 vintage. Similarly, the jaunty banjo on “Of Late” adds a wry smile to the gothic folk misery we’re used to.

Perhaps the real development on this record is in the vocals. David Ashbourne has always boasted a rich, resonant voice, but on previous recordings we’ve always been concerned that he was foregrounding his vocal ability at the expense of the song. Take a listen to “Losts & Founds”, our favourite on this EP, and you’ll hear how far he’s come. There’s passion here, but whereas once we’d suspect that he would have groaned and sweated his way through proceedings like an over-egged 80s rocker, now he uses his impressive pipes to further the song: listen to the delivery of the line “You crazy people”, it has just the mixture of despair and incredulous amusement that the words demand. The fact that the tune is a funky little acoustic strut built on a sassy hi-hat rhythm, like an open mic twist on blaxploitation soundtracks, doesn’t do any harm either.

We could go on, but as we said the songs here work best on their own terms, and it doesn’t add much to pick them apart looking for secrets, or to cast our net around looking for musical analogues. This is an immersive collection of quality melodies that should entice even the weariest acoustic critic: hell, it’s making us smile, and we have minor burns, a broken toe and several feet of knotted video tape cutting off our circulation.