Bongos, Bleeps & Basslines (Explicit)

by Marisa BrownThe British duo Zero dB have been remixing songs for other artists since the beginning of the 21st century, but it's not been until 2006 that they've put out their own full-length album. Coming in the form of the nine-song Bongos, Bleeps & Basslines, the record shows off Zero dB in their element, blending layers of rhythms and jazzy keys into something that ends up being very listenable and accessible while still retaining a hard, beat-heavy edge. Drums and bass are the most important aspect of their sound, and they stand out from those around them with their ability to put seemingly disparate beats together into something that works really well. The album moves through samba, jazz, hip-hop, and conga with direction and intensity, so much so that even the slower, more introspective tracks ("Anything's Possible," "Sunshine Lazy") never lose their sense of purpose and turn into dribbling jazz-house numbers about flying and freedom (even "Sunshine Lazy," which lyrically veers toward that, stays very fresh thanks to the inclusion of a live double bass, guitar, and trumpet). Zero dB are definitely best when experimenting with jazz, sounding most comfortable while maneuvering around swing and even a bit of bop (check out the trumpet on "On the 1 & 3"), though "A Pomba Girou" -- also the album's first single -- takes a great samba beat and adds a crispy synth bass and warm vocals from Heidi Vogel and ends up being an excellent track. Their attempts at conga ("Conga Madness") and the other samba-based song ("Coisa de Gringo") are unfortunately less successful, a little too regimented and strict for what the genre entails, but the grimy "Know What I'm Sayin'," featuring rapper Pase Rock, is good, and shows how versatile the duo is, able to complement the MC's rhymes and still keep things dirty and thick. It's all about rhythm here, anyway, at which Zero dB excel, so while Bongos, Bleeps & Basslines may falter occasionally, it's not for lack of intensity or talent; rather, it's from an overly ambitious desire to incorporate their many influences into one thing, which is hardly something to be ashamed of, and certainly doesn't make for a bad album. It just means that the best is yet to come.