Zeros debut Album “Space Noir” creates a smoky haze of adrenaline
Opening mysteriously, Zeros debut album, “Space Noir” is a bit of a collective puzzle. Every song is an expertly crafted, high-adventure thrill ride that will make you swear you returned to Electric Mountain. And it is fittingly so, in that the album was released on Feed Me ‘s record label, Sotto Voce. From start to finish, the album displays unadulterated stylistic electro dating back from 2009. It’s uncompromising in its nostalgia and every time I listen to it, I can’t help but rekindle the same feeling when I first heard Feed Me’s Big Adventure.
Despite being only 11 tracks long, it is actually quite ambitious in its feats. It is set as a futuristic mystery trying to create an atmosphere of an old-timey, gritty detective solving crimes in a haze of black and white space dust. Although it leans more towards the future then the past, Zeros ability to create a smoky haze of adrenaline elegantly blurs the styles of Kavinsky, Danger, and Feed Me.
Fade In (Intro)
Before any Kicks, drums, or snares are hit, the dust of a high-intensity thriller is kicked up all around you. Suddenly and unexpectedly, “Red Panda” snatches you up and takes you on an opening-interstellar chase scene.
“Red Panda” is Zeros most cohesive blend of past and future. Lending its eccentric piano keys meshed over top a pounding drum beat, the track unceasingly races down the freeway only pausing for more stylistic interludes of classic chase scene overtones. At each interludes’ end, the track erupts into a “One Click Headshot” meets “Silicone Lube” roar that invokes some serious “nowstalgia” for some Feed Me classics (can they be called classics if it has only been 4 years?). Style cues such as these make it no mystery why Zeros is featured on Feed Me’s label and I’m sure any fan will gladly welcome him.
Taking an intermission from electro, “Cantina” leads the listener into a smoke-filled jazz hall full of lively conversations, but as quickly as it came, it abruptly ends like a bash to the skull as reverb fills the black space and you are taking hostage to a deep underground lair.
This is what makes the album so successfully ambitious. Zeros could have easily made an 11 track album of straight electro, but instead opted for something more of an auditory story that cuts through different genres like well-transitioned movie scenes.
One of these examples is “Peace Of”, which I wouldn’t even consider as deep house. This is more like subterranean house, fathoms and fathoms below the surface of other deep sounds. James Cameron tried to build a submarine to get this deep, but couldn’t handle the pressure.
Still my favorite track to date is the first one I heard on Soundcloud the other day reposted by Feed Me. Tibet is a fun, bouncy track with synth leads Mord Fustang would envy and wubs so unobtrusive you’ll barely notice they’re there.
I admit, I’m usually not the first to buy an album, especially considering how fast tracks come and go these days… But Space Noir was the first full album I have bought in a long time because it oozes longevity. Polish like this seems to come less and less often, so be sure to get the album and listen to its entirety as Zeros takes you on a Black & White space adventure. You won’t be disappointed.
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