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It's striking stuff--definitely not easy listening, but well worth the effort, even if it feels like a slightly lopsided affair, with the final four tracks overshadowed by one terrifically effective and truly inventive epic.
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Night Music's rawness--Jaumet even manages to make a saxophone, that treacly emblem of kitschy synth-pop cocktail bar culture--sound visceral and disturbing on "At the Crack of Dawn"--is what separates the album from the glut of 80s jackers.
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With the help of unlikely collaborator Carl Craig, a Detroit producer, Night Music sounds as unified as a clutch of consecutive scenes of a movie.
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UncutNight Music, the debut solo LP from Zombie-Zombie's Etienne Jaumet offers proof that there's more to analogue synth than kitsch retro-futurist appeal. [Jan 2010, p. 124]
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Q MagazineUtterly cinematic, it owes as much to Vangelis's Blade Runner soundtrack as derrick May's minimal techno. [Jan 2010, p. 120]
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Night Music is the sort of album that demands an active listener, that brings all those lurkers in the lobby of the mind into full view.
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Jaumet might have Carl Craig hovering over him but he’s not entirely in his shadow, and Night Music is his own diamond-encrusted carriage, which he rides through the small hours with no risk of ever becoming a pumpkin.
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Bathed in cloaking shadows, Night Music captures the macabre power of darkness, where ordinary shadows are stretched into ominous significance.
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With Carl Craig producing, Jaumet offers a fittingly stripped-down suite of tense, stomach-churning tracks. Dappled with oily synth slicks, frittered timbres and blacklight radiance, it can be a heavy listen.