Zakarya
Something Obvious

Moderately intrigued by the intrinsic nature of the proposal*, I set out to co-opt such an "Apparently Obvious" sound-artifact.

From the very first emerging sound-hints, a growing buzz of subdued bacchanal/percussive interferences surrounding the wandering swaying accordion intro, one immediately realizes that inside what you will (happily) collide with, there is definitely something that... goes, meaning that everything proceeds, manifesting differently than one would expect, as (indeed) it should (always) be.

The first real (after not so obvious intro) track “Colere” does not fully reveal the bows available for the arrows (?) of our recalcitrant para-Klezmerators of (dis)trust: the not yet "abused" accordion of the buoyant (never as in this case it seems appropriate) Monsieur Yves Weyh, skilled instrumentalist and driving force of the Zakarysta project, tends to create a unique and grumpy yet digestible amalgam, along with the squared (electrified) bass and the disorderly battered percussive instruments available. The real nature begins to concretely manifest starting from the (unpronounceable) subsequent fragmentation “Ein wirtschaftlich wertwoller jude” where we witness a deconstructive noise/accordion treatise with flying colors (or cotton swabs, if the volumes prove too high and disarticulating... It's up to you) where the tones, at times, are conspicuously jarred with electric swaths; also spectacular is “L'œil” crossed by voluminous audio-seismic/telluric jolts as if we were in the presence of an (recalcitrant and ingenious) authentic noise-rock band: almost a noisy-gypsy version of the edgy Cop Shoot Cop...

Moreover, they offer the unusual opportunity, for the altogether modest price of the CD, to enter their “Shop”, rich in disconcerting, engaging, intricate, colorful sound-knick-knacks and especially to undertake no less than two tramways: “De Pinsk à Minsk”, dreamlike, nostalgic, sound-freight where we witness in relative ecstatic peace the buoyant and enjoyable surrounding sound and the more chrono-short, accelerated return trip, “De Minsk à Pinsk”, where a reckless guitar/recalcitrant humus, with a para-thrash-metallic nature, dominates unchallenged: frankly, of the two planned routes, I would prefer the return one (the shattering mononeuron, as known to the most assiduous, is attracted by the worst audio-childish/atrocities).

In Talleri the work in question, dating back now trois years ago and second long-distance chapter as far as they are concerned, proves to be excellently chopp(ed)y, multifaceted, caustic, scarcely aligned, intriguing, and multidirectional, what more could you ask for?

Who said “Un Lucano”?

* Klezmer extraction quartet based in the transalpine Strasbourg that exhibits the elaboration - quite a rare, if not unique, case - of its own expressive module among the lines of the polymorphic catalog (again) Zorn/Tzadikian