The trip through the ethereal passages laid by Zambri lasts only 5 songs, but they are well chosen. They certainly show what the duo is capable of: strange ambient noises, a heavy electronic atmosphere sounding slightly 80s with some industrial added to the mix, a dissonance approach and a pair of dreamy voices.
It’s a safe place, the vocal approach, as the music is everything but. ‘On call’ starts slightly harmless, like that scene from Batman (1989) where The Joker is defacing some art. It seems to be fun, but there’s something dark and although the crashes and drumbeats are electronics, is the processed vocals what really give it an identity.
A very dark one. ‘Heather’ does follow suit, with a sampled inhuman cry that at first throws you off-balance, then it becomes just another instrument in the layer-cake of samples and loops. It’s the darkest song of the EP. On the flipside, ‘To keep back’ sounds more mellow, even friendly (in comparison). A bit of that dreamy and baroque approach to sound where female voices intertwine with electronic ambients, creating an otherworldly experience. It’s possibly the best track of Glossolalia.
Which shouldn’t take merit from ‘News’, which follows the path laid by ‘On Call’ and ‘Heather’, but with a more tribal approach. Again, the selling point is the several approaches to vocals that dance like fireflies in a forest of dissonance and haunting atmospheres. A re-working/alternate version of ‘On Call (biddibiddi)’ closes the EP. It bookends it nicely, giving the song another twirl in a slower gear.
With all the surreal artists using the advantages of electronic sounds to broaden up their palettes, it’s no question that acts similar to what Zambri are doing will pop by in hordes, the beauty is that from that glut, all will find their own voice and Zambri seem to be getting theirs on the right track.