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Written by David Shouse, posted by blog admin
FACEBOOK: https://www.facebook.com/ezlaofficial/
TWITTER: https://twitter.com/ezlaofficial
Written by David Shouse, posted by blog admin
Textbook and traditional are not words that will
help in the description of the flagship release, Outcasts, by California to Tennessee transplant EZLA. The
singer/songwriter/musician is neither wed to simply West Coast influences nor the
rural trot of the country and western capital of the world where she now hangs
her hat. She’s stumbled upon this musical no man’s land where electronic
instrumentation is the featured component, in addition to her earthy
rise/fall/stop/start vocal style that makes playful usage of word-crammed
verses that amazingly roll off the tongue and glorious pop choruses that go
straight for the pay-off.
There is no filler to be found here and no bad tracks.
The only mark against EZLA’s debut is that a few of the tracks come off a bit
same-y when tempo is considered. Although this uniform approach to rhythm and
backbeats is broken by sudden sea changes and shifts in volume, as well as
choruses that musically go against some of the darkness by sounding pretty darn
happy and carefree. The title track leads the EP off and is a pitch-perfect example
of EZLA’s abstract musical blueprint. Listeners are the on the receiving end of
a jagged, angular beat that seems to start-up and shutdown at random until the
song goes for the harmonic paydirt as the keyboards become more prominent in
their cascade of phased/flanged grooves and a chorus that is practically tailor-made
for radio airplay. “Skeletons” works up a similar sweat but might be just a few
extra BPM in the verses as the song swirls in fuzzy, distorted discordance
that’s akin to the 90s pop/industrial movement’s abrasive catchiness. You’ll
never mistake EZLA for Nine Inch Nails even if the general aesthetics (edgy
singing, twisted lyrics and a sonic arrangement meant to be played LOUD) is a
kindred spirit to Reznor and company.
The romantic “Satellites” is less aggressive and
pointed than its predecessors, trading the harsher, noisier textures and
jarring pace changes for echoing, reverbed ambience, soft yet expressive vocals
drenched in vibrato while deliberate beat placements (that are less cut up and
mashed) yield a more tangible song structure.
This welcome restraint is shattered by “Hangman’s” innovative vocal
mapping, meticulous synth stacking, alien and mentally affecting trip-hop
choruses and EZLA’s organically warped lyrics.
The cinematic musical backdrops reckon of experimental artists from past
and present. One can hear bits and
pieces of VAST, Placebo, Joydrop, Plumb, Portishead and Massive Attack while
listening to this track or any of the EP’s 5 well-rounded tunes, for that
matter. Cryptic and bent by black humor,
“Psycho Killers” is the darkwave pop song equivalent of 80s slasher flicks with
lyrics and musical undertones that only further this emphasis.
You can allude to points of reference all night long
when describing EZLA’s debut Outcasts
but the fact remains that this is a wholly interesting piece of work that only
sounds like EZLA. The brutally honest
underpinnings of the lyrics and shapeshifting sonic deconstruction won’t be for
everyone but those that can handle the turbulence will find plenty to enjoy
here. Some stronger variations in tempo
will be welcome on her next release, although the slight sameness of the beat
programming ensures that open listeners will latch on and gleefully stick
around on EZLA’s wicked ride.