ZOMBI

Really unreal - must be a ZOMBI!

These two guys are obviously inspired by Tangerine Dream. Trouble is that whilst they may sound like TD, they completely fail to absorb the difference between layered synths, or the same that actually has substance to it - for good measure.

In my previous blurbs on their other albums I didn't spare this band. This time I can't be even that generous when it comes to this album. Here, I am confronted with extremely boring soundscapes. Somewhat reminiscent of very early TD with the dark, cosmic approach. So what's wrong here then? Simple. There is no trace of substance to any of these indulgent pieces that go nowhere.

OK, this is Zombi's first release and probably done when they were still adolescent, thinking that any sound may equal artistic merit. How on earth did they manage to get a contract for this?

I can relate to complex, or simplistic forms of expressions happily - as long as they have substance. This effort however, is as close to the pits as I've heard in a long time.

The most frustrating part is that every now and then, these cats come up with something very pleasing, almost by mistake. Not here though.

The US answer to Tangerine Dream?

This band seems to embrace some of TD's approach. Unfortunately, not of TD's better moments are being paid tribute to here. Short of the disastrous Jerome Froese Techno approach, Zombi are seemingly hooked on reproducing the urban psychosis that TD used as filler material only. This band seems to be hooked on some least memorable moments of that legendary German outfit whose material is at least 80% boring and rather uneventful.

Now, don't get me wrong, this album is largely enjoyable, but that doesn't mean that it's great in any sense. The addition of bass helps a bit, but not enough to lift the game as such. The tunes are not bad at all, but somehow remain undeveloped and largely unexciting, lacking conviction..

Track 1 and 5 are excellent in comparison, but these guys weren't born behind the Berlin Wall - like TD to have that real urge of wanting to reach out to the Universe whilst being surrounded by hostile forces.

A 3 star rating is appropriate here, perhaps 3.5 and one can't expect to have that emotional content, - one like myself who was born behind the Iron Curtain - to understand to any extent.

A reasonable effort by people who have had relatively little understanding to emotional content in musical expressions - due to lack of life experiences. I sincerely hope that in future they'll mature as they seem to have the the talent. And yes, the name ZOMBIE fails to please to any extent. Time to grow up?

What a let down!

I had reservations about the band's chosen name, but since I had the opportunity to hear this album, I put some time aside for it.

The first track just blew me away! A long piece inviting echoes of the better moments of early-'80s Tangerine Dream. Pure pleasure!

But my excitement was short lived.The second tune has cut my initial euphoria rather short. It's a piece studded with urban pace, a life I left behind decades ago for the peace and tranquility of living in a small fishing village on the East-Coast of Australia by the Pacific Ocean. Now, "pacific" is a term I can happily relate to, but this tune doesn't really fit the image. Still OK, but more unsettling than pleasing.

That urban psychosis gains even more momentum on the next tune, somewhat reminiscent of excesses by Robert Fripp of the Belew era, something I just can't warm to, but some people will no doubt love this piece. Not bad at all, but definitely not my preference, not even for a rainy day. Too repetitive and as such, boring.

Track four carries on in the TD vein - of the "spirited" filler material side. Loud, repetitive and - hardly better than a worn LP skipping back endlessly. One on certain substances may derive enjoyment from this noise, I am not one of those.

The fifth, last and longest track is another Fripp-like psychotic threadmill, laced with Jean- Michel Jarre doing Metal. Almost good, but misses the mark. Too frantic, too nervous, no room for such around my place.

These guys have potential, but for my taste apart from the first tune, the rest is forgettable - and very quickly before my walls would absorb too much of it. With the same effort, a masterpiece could have been delivered, but the end result here barely scrapes in for a 3 star rating.

ELECTRIC GUITARS AND SYNTHS DONE NICELY WITH A RETRO FEEL TO IT.'

In my mind, ZOMBI's SPIRIT ANIMAL is an absolute hit. I am a huge, appreciative fan of keyboards and synths that have that classic 80's and early 90's retrograded sound to them, and that's what is given exquisitely to the listener from 2 wonderful composers STEVE MOORE and A.E PATERRA who are largely influenced by other classic electronic prog composers like GOBLIN and TANGERINE DREAM. Essentially if you are a fan of GOBLIN, TANGERINE DREAM and even VANGELIS for that matter, you will absolutely love ZOMBI with this album release. Heck, this is an album that was released in 2009 but sounds like it could have come out in 1991. Let's be clear though, this album is not entirely retrofitted for the retro crazed listener. There is a strong element of modernity in the sound of the acoustic guitar and Bass and Drums by MOORE and PATERRA. ' For instance, the 2nd track SPIRIT WARRIOR consists of very modern sounding electric and acoustic guitars with a very non dated bass sound as well. Overall. A very good track and a nice take on how you can combine a very retro 80's sounding synth with modern sounding guitars and bass not to mention, drums as well.'

Meanwhile, listeners may be slightly Dissapointed with SPIRIT WARRIOR guitars sounding a lot like the 17min epic track THROUGH TIME, which is the last track on the album and a creative finish to a solid instrumental album. Anyway, it's really the synth and keyboards that really tie everything together and make each track very attractive sounding. Even the 3rd track, EARTHLY POWERS has somewhat of a jazz like feel to it while COSMIC POWERS (track 4) is Darker and more brooding like SPIRIT WARRIOR with its guitars and drumming. Very fast too!

Above all. Let's just get into the real heart of the album and that is the epic 14min opening track SPIRIT ANIMAL. For me, this is an instrumental that I live for. It has an incredible and ethereal modern and retro sounding syths and keys with beautiful ambient soundscapes accompanied by awesome, powerful drums and electric guitars. You cannot ask for anything more here, especially if your in love with 80's sounding synths. Also, with the deep ambient elements in ZOMBI's overall sound there can be traces of a space rock feel in the music resembling the likes of PINK FLOYD. Sound intriguing to you? Good. Go buy this album and blast it. You won't be sorry. This is a well composed and well structured album where by all 5 tracks are very good and encourage you to drift off and think about the unknown with its groovy soundscapes, which is essentially the whole point of this album and this style of music. Enjoy proggers. MOORE and PATERRA's SPIRIT ANIMAL is getting a at 4/5. It's terrific. So what are you waiting for? Go drift off into la la land and enjoy yourself. :)

Zombi have so far established themselves as one of the finest groups to create retro-tinged electronic krautrock in the 21st century, and Escape Velocity, which I've inexplicably been procrastinating writing a review for, further cements my high opinion of them.

On their previous album, Spirit Animal, Zombi went for a more traditional synth-led classic symphonic prog sound, whether it was intentional or not, and it worked very well and gave a lot of people who were more accustomed to classic symphonic prog a high-quality introduction to their discography. While the stylistic change on the previous album worked very well, I personally was hungry for more of the modern energetic post- Berlin school type sound that Zombi had been known for. Fortunately, the krauty sound is back on this album.

Compared to the first two albums, Escape Velocity seems to have a slightly increased energy and displays the group's sense of experience, which is obvious from the moment the title track starts of the album with a forceful synth sequence and very powerful drumming. Though A.E. Paterra's pounding percussion is never technical, it is very strong and gives the music an impressive energetic boost. The next track, "Slow Oscillations" (also released on a free remix EP), is absolutely magical, featuring a hard-hitting and steady beat from Paterra and sharp synth sequences and a melody that is mystical yet heavy and dark like some kind of archaic stone carved beauty. My only complain is that, at just under 3 minutes, this song could've been stretched for longer, but it is still a wonderful atmospheric track.

"Shrunken Heads" is a mid-paced, late-night racing theme set in the big city, similar to the music on Tangerine Dream's Exit but is actually stretched out long enough to develop and swell, ultimately being more satisfying. "DE3" is my personal favorite track of this album; it's got a heavy bass beat with a very high soaring, triumphant sounding synth melody that really makes me feel kind of emotional and hopeful, but the song shortly progresses into slightly darker territory quite effortlessly before climaxing. Equally emotional, albeit slower, "Time of Trobules" finishes the album with a murky pace but also with more soaring, triumphant synth melodies.

It is worth mentioning that the synth sounds that Steve Moore uses on this album is a mixture of the best of the classic '70s sound with the best of the '80s sound (removing the cheesiest elements from the '80s), which works very well for this band and, combined with A.E. Paterra's heavy drum style, makes their sound stick out. It's classic sounding, yet unmistakably modern in a way that probably won't make Mr. elitist grandpa prog fan so angry.

A lot of Berlin school music tends to get a lot of flack for being boring and uneventful, and I have to admit that sometimes it definitely is, but "boring" is a title that can't be easily applied to Escape Velocity, which is basically a heavy progressive rock album led entirely by beautiful synth melodies and rock drumming. The biggest complaint that I have with this album is that it is too short, just over 33 minutes). Maybe they'll pack more music into their next full-length album, but this album is infectious enough to tide over Zombi fans until then.

Miles away from the minimalistic ambient material which usually gets classed as progressive electronic, Zombi's music - evoked by the team of Moore and Paterra - exists in the boundary between electronic music and space rock, with Hawkwind and Heldon-esque grooves mixing in with plentiful mellotron and synthesiser textures to create an extremely modern and intriguing sound. Imagine what might happen if Richard Pinhas decides to craft an electronic trip which sounds like a rock band freakout and you might get close to the Zombi sound, and Surface to Air is a great place to encounter it. Worth exploring for all fans of space rock and energetic electronic rock.

Anthony Paterra and Steve Moore's first studio go after a demo and EP a year before, and it's a ringer. And when you have a proper debut this good, this smoothly executed and clean, you know you're hearing a unique pairing of two modern musicians that holds the promise of many happy years and returns. Judging from their continued output, I'd say it turned out to be a happy marriage.

Usually compared to Froese/Schulze and the like, I tend to hear more Goblin meets John Carpenter in these two. But same diff-- point is, it's some rippin ass electronic sh*t, my brutha, and like follow-up Surface To Air, will please rockers and electrons alike. In fact if it's any players who've most tastefully and successfully bridged the gap between electronic prog and power rock, it's gotta be this couple of Undead. 'Orion' overtures big but 'Cestus' really starts to bloom and pulls us out into the first stratum with driving five-beat measures, layer upon layer, masterfully building the tension as it stretches into a black hole never to return, 'Cassiopeia' rises in tempo and temperature generating its own magnetic field, and 'Serpens' comes closer to brainwave pulse allowing us to rest a bit, take in the magnificent view these guys provide from orbit, and reminisces Floyd circa 1975. 'Gemini's low-frequency hum vibrates in-between one's cells and grows into eleven full minutes, 'Andromeda' has the mirth of classic prog, and 'Taurus' finishes with a bone-chilling walk on the freezing-dark surface of the Moon where nothing but bad things are sure to occur.

No guitars or singing but in Zombi's case I can't think it anything but a plus. The best art is often that which is born of necessity, of a lack of something traditionally crucial, and finds a way to turn a disadvantage into a creative tool. Recommended.

— First review of this album —

This EP of remixes based on the track "Slow Oscillations" from Zombi's most recent album, Escape Velocity, is one of the more successful remix attempts I've heard in a while, but that might just be because I'm a big fan of the group anyway. Also, this being a free download from the Amazon.com mp3 store, it's to pass up.

"Slow Oscillations" is a track consisting of the usual fast-paced powerful drumming with Berlin school type synth melodies, and while it is good and relatively entertaining, it's also relatively short and doesn't contain very much progression. The brevity of the composition, however, makes it a perfect candidate for being developed further in remixed form.

"Slow Oscillations (Ryoga's Ticking Clock Mix)" mutates the composition into a super-thick aural assault of smooth synths and Boards of Canada comparable analogue hip- hop beat but far more violent. It's great to hear this kind of sheer electronic density with Zombi's lead -- it works very well and I hope the band considers working with this style in the future.

"Slow Oscillations (Dälek / Icon A Class Remix)" has more of a techno dance sound but it different enough from that style that it actually sounds good, kind of like an energetic Schulze track with modern equipment and an ear for commercial accessibility.

"Slow Oscillations (Antalgic Remix)" has a very fresh sound, combining Zombi's usual force with the smooth jazz melodies and accessible hip-hop beat groove akin to Nujabes or Royksopp's debut album. The very clean instrumental hooks make this an accessible sound that could easily make it to the top of the download charts if Zombi were more popular.

"Slow Oscillations (Bass Kittens Remix)" isn't really anything very special because it sounds too much like the original track and the first remix, but it is still a good song.

This Slow Oscillations Remix EP is a satisfying remix effort, and I commend Zombi for releasing it. It is entertaining and offers great alterations of one of Escape Velocity's shortest tracks, which makes this a great accompaniment to the album for anyone who enjoys it.

Pretty much a straight dance album replete with complex progressive synthesizer flourishes and an upbeat tempo - think of the 'Drive' Soundtrack crossed with French hipsters Justice and the crystalized streaks of Tangerine Dream's late-seventies and early-eighties output - this fourth effort from the American space-rock duo of Steve Moore(bass, keyboards) and Anthony Paterra(drums, percussion) exhibits a slicker, almost soulful new sound influenced less by progressive rock and more by the retro 1980s vibe of modern hipster pop. However, that's no criticism; this is a great album, especially so for those who don't mind the occasional dose of modern dance to go with their King Crimson's and their Genesis', acts such as Boyz Noise, Digitalism, Daft Punk and, of course, the aforementioned Justice. And this bold new streak positively hits pay-dirt on the album's final, killer track, the glistening 'Time Of Troubles', a softly-pulsing six-minute joy opus of dazzling techno-prog that could - and should - be a great deal longer. Harder sound are aroused elsewhere, just check out the pacey opener 'Escape Velocity' or the downbeat menace that pervades the grimly-monikered 'Shrunken Heads', yet the neon-lit keyboards are never far away. Fans of 'Larks Tongues In Aspic' and 'Third' may find it all a bit commercial, and that's true, yet this is smarter sonic design than many may initially think. The quality of the sound is the real key, however, and the combination of outstanding production design and slickly-realised pop- dance ambitions have melded nicely on this thoroughly unexpected success. Without a doubt, this the twosome's strongest release yet. STEFAN TURNER, STOKE NEWINGTON, 2012

— First review of this album —

In 2003 the Electronic duo of Steve Moore and Anthony E. Pattera produced a self-released EP entitled ''Twilight Sentinel'',containing an alternative version of ''Sequence 8'' from their debut and three new cuts.This EP should have really remained very rare if US label Wabana Ore Limited wouldn't release it a few years later as a 12'' vinyl LP.

''Sequence 8'' have a rockin' attitude to say the least with a great groove surrounded by nice synths and it is an excellent start for the upcoming ''Gemini part 2''.Here Zombi enter the world of pure Electronic cosmic explorations,somewhere between TANGERINE DREAM and EDWARD ARTEMIEV,with floating propulsive synths all the way in a trully spacey enviroment,while the eponymous track is led by Moore's bass and Pattera's pounding drumming with fine hypnotizing synthesizers accompanying till the last second.''DMC-12'' opens with Pattera's psychedelic drumming,soon to be driven by Moore's majestic synths and Pattera delivering some steady groovy performance.

Another strong effort by Zombi,the duo gets even tighter as time goes by and ''Twilight Sentinel'' is a nice modern release of Progressive Electronic by a band staring with one eye to the Electronic masters of the 70's.Recommended.