Over-enthusiastic waving can be dangerous kids

It can be daunting recommending Zero 7 to a friend, they will inevitably ask you to describe their sound. The task of characterising a band that transcends conventional categories seems more troublesome than teaching an infant about global economic policy. Thankfully, the process has become far less arduous with the release of Record, a comprehensive collection of the duo’s finest moments to date.

Henry Binns and Sam Hardaker began their careers as sound engineers in London, mixing music for the likes of the Pet Shop Boys and Robert Plant. Their transition from the confines of the sound desk to the stages of the capital transpired after they convinced Radiohead producer Nigel Godrich to lend them the master tapes of “Climbing Up the Walls” from the band’s Ok Computer record. The subsequent remix was released to critical acclaim, appearing as a B-side on the “Karma Police” single. With the doors of the industry now marginally ajar, the pair honed their sound by producing on a series of remixes for artists such as Lenny Kravitz, Terry Callier, Lambchop and Roots Manuva. The process culminated in 2001 with the release of their million-selling debut album Simple Things, an experimental correlation of Downtempo and Chill drawing comparison to the French electronica of Air. The group went on to release three further records: 2004’s When it Falls, Grammy-nominated The Garden in 2006, and 2008’s Yeah Ghost. 
 

Their style nullifies the typical boundaries that separate genres, incorporating the aesthetics of seventies soul into the expansive environment of electronic chill out. Their songs evolve into cinematic landscapes, infused with a sense of romanticism that transports the listener to the distant reaches of the sound spectrum. With an array of guest vocalists including residents Sia Furler, Mozez and Sophie Barker, the band have continually redefined the sonic possibilities of their music with each successive release.

The collection opens on a high note with the tantalising grooves of “Futures” from The Garden. The lilting vocals of Scandinavian singer/songwriter Jose Gonzalez add an organic, spiritual element to the song’s electronic foundation. The minor-infused lines of the piano and acoustic guitar interweave with the mechanised sounds of the synth, typifying the band’s penchant for crossover compositions. 
 

Standout track “Destiny” amalgamates the ambience of Massive Attack with the rolling rhythms of Nightmares on Wax. The sweeping lines of the synth are entrancing in their effect, creating a frame by frame vision of an ethereal world reduced to its elements. The soulful, siren-like quality of Sophie Barker’s voice submerges you in an ephemeral environment where her dulcet tones transform sounds into colours, tinting the landscape with a serene, sensuous hue.

“Throw it all Away” features an irresistibly catchy chorus that’s sure to remain in the mind of its listeners for days. Sia Furler’s vocals soar like seraphim-high above the measured beat below, recreating the soulful sounds of the seventies. 

“The Pageant of the Bizarre” aptly commences with an ascending organ melody that could feature in a Zelda soundtrack. The song expands on the video game element with a plethora of retro sounds complimenting the reverberant piano chords. The dynamicism of Furler’s voice radiates as she slides effortlessly between the polyphonic registers, bridging scalar distances of epic proportions. 
 

While this collection offers little to the hardcore Zero 7 fanbase, it provides newcomers with the opportunity to uncover a band that has permanently altered the face of electronic music. Carefully compiled and teeming with hypnotic tracks, Record is certainly a worthwhile purchase.

Recommended.

John Ryan