...Sacred Geometry ...

Good things come to those who wait.
This old adage isn’t always true, but in the case of Brooklyn trio Zaza, it’s all seemingly come together so effortlessly with Sacred Geometry. I hesitate to use the words “long awaited” here, seeing as three years isn’t exactly forever even in embryonic lifespans, but I admit I had some trepidation in the band’s plodding pace at releasing their full-length follow-up LP to their stunning Cameo EP (released by Kanine Records), to me still one of the best things to come out that year.

When we first met Zaza, it was back in 2009 during their opening tour with the Pains of Being Pure at Heart, and again last year on their groundbreaking tour with Black Rebel Motorcycle Club. Throughout this touring, crowds have gotten a sampling of what was being put together with Sacred Geometry. While Cameo came out of left-field, Sacred Geometry is more deliberate, atmospheric, and slick.

For two native west-coasters (Danny Taylor is from the Pacific Northwest and Jennifer Fraser is from California), they have managed to record something that reminds me of TriBeCa, with its gargantuan industrial loft spaces, or maybe the 2010 score to Cat People or even Blade Runner. This album’s got ambiance in spades–almost always leaning towards dark, esoteric, space age plastic, without causing death by synthesizer. You might be prompted to think of NIN’s Downward Spiral without the hate or headache-inducingness.

Taylor has come into his own as a vocalist here, and it’s hard to believe that he hasn’t been doing it in a band for all that long. He and Fraser have really done some maturing as songwriters in three years’ time insofar as layering is concerned. The same strong percussion we connected with on Cameo are still prominent — but there are a whole lot of other polished sounds working with each other, too.
From; The Panic Manual



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Zaza - Sacred Geometry
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