London duo Rezzett have been parping out sounds on The Trilogy Tapes for a few years, but this is the first time they've done the full toot and produced an album.
They were on the edge of my radar along with other double-z bands like ZZ Top, Yazz and We've Got A Fuzzbox And We're Gonna Use It. But with this self-titled Rezzett album they land squarely in my sights. Distorted tech noise and rusty ambience? Yes please, thank you Mrs Music. (Not a real person.)
Rezzett is fuzzy, like an unshaven face or a neglected slice of bread. It's frequencies leak into areas they shouldn't, like a naughty paddling pool. It sounds off, like these similes. It's a scuffed-up science-fiction film set, but with Luke Abbott instead of Luke Skywalker: no JJ Abrams CGI lens flare here.
It's techno and ambient and jungle and bass music all at the same time. When you think the album has settled into a pattern, it throws something deeply satisfying at you. Listen to how the skippy snares of Tarang beckon in a chord sequence ripped straight out of a power pop anthem, and yet it all still holds together. It's perfection.
And most of all, it's properly curated. An album with shape, from the faded glows of Hala, to the dirty deconstructed house of Sexzzy Creep, to the whip-sharp junglism of Worst Ever Contender. Way to end an album.
I haven't even started on the cover artwork. Congratulations Rezzett, you slightly anonymous duo, you are my bestest favourite album of 2018.
I've thought of another one: Johnny Hates Jazz. Ooo, and Gazza!
Happy new year to you, dear reader, and I'll see you in 2019 for much more of this complete and utter garbage. If you think I'm brilliant and I deserve paying for this, then treat yourself to a subscription to Electronic Sound magazine where you'll read my monthly column and numerous other words in a different order.
In the meantime, thanks for reading this blog. Here's to its 15th anniversary in 2019. Blogging! In 2019! Who'd have thought!
Scroll all of the best 2018 electronic albums by clicking here.
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