With a 23 person line-up, Girlz of Zaetar exists somewhere in-between a sex-crazed Sly, a meditative Femi Kuti and a drawling Captain Beefheart, creating music that is at once excruciatingly pretentious and wonderfully listenable. The 35-minute-long "Gods" is so commercially suicidal it's beautiful. Even musically, after its first few faltering steps, it proves to be a wonderful track; a gliding chant that extends above and beyond itself to end up in some absurd Hindi love parade.
Girlz of Zaetar’s Fear of Rehearsal is experimental, avant-garde, electronic, ambient, jazz very reminiscent of Miles Davis’ revolutionary 1970s creative leap to electric instruments on such albums as Bitches’ Brew music that defined what came to be called fusion. The centerpiece of this twenty-three piece collective’s album is the first track, Gods, a 35-minute, meandering sonic landscape that uses as its artistic palette tenor saxophone, electronic noise, guitar, percussion, bass, and non-distinct human voices that at times sing, talk, and scream. The saxophone solos are very well played, with great fast-paced runs and layers of sax noise provided by the multi-player horn section. This instrument is especially well utilized in the second track, Lahasa, with a great squeaky, squonky sax riff that repeats over disjointed percussion and ambient noise before the rhythm section begins to kick a groove.With a 23 person line-up, Girlz of Zaetar exists somewhere in-between a sex-crazed Sly, a meditative Femi Kuti and a drawling Captain Beefhe...all »With a 23 person line-up, Girlz of Zaetar exists somewhere in-between a sex-crazed Sly, a meditative Femi Kuti and a drawling Captain Beefheart, creating music that is at once excruciatingly pretentious and wonderfully listenable. The 35-minute-long "Gods" is so commercially suicidal it's beautiful. Even musically, after its first few faltering steps, it proves to be a wonderful track; a gliding chant that extends above and beyond itself to end up in some absurd Hindi love parade.
Girlz of Zaetar’s Fear of Rehearsal is experimental, avant-garde, electronic, ambient, jazz very reminiscent of Miles Davis’ revolutionary 1970s creative leap to electric instruments on such albums as Bitches’ Brew music that defined what came to be called fusion. The centerpiece of this twenty-three piece collective’s album is the first track, Gods, a 35-minute, meandering sonic landscape that uses as its artistic palette tenor saxophone, electronic noise, guitar, percussion, bass, and non-distinct human voices that at times sing, talk, and scream. The saxophone solos are very well played, with great fast-paced runs and layers of sax noise provided by the multi-player horn section. This instrument is especially well utilized in the second track, Lahasa, with a great squeaky, squonky sax riff that repeats over disjointed percussion and ambient noise before the rhythm section begins to kick a groove.«
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