More questions than answers
Zomby - Dedication

The memories of ‘Where Were U In ’92?’ now fading like bad tie-dye, and the bleeps and bytes of ‘One Foot Ahead Of The Other’ sheared and exposed, Zomby furthers his enigma by, in a typical curve in concept, shedding a little light on the man behind the mask. Not a full-blown stint of public relations, more clues than ever are left as to the human thought processes his camouflage conceals, which in turn provides a windfall of further riddles to his repertoire.

Quoted as “a dedication to someone much loved and missed”, there’s a feel of unrequited/forbidden adoration where Zomby watches intently while unable to let his full feelings known. ‘Natalia’s Song’ is a dubstep wrench of the heart, bleeding lo-fi euphoria and a fondness bordering on stalking, where presence is felt but only seen as a ruffle of the undergrowth (a ruffle that, as on ‘Florence’, still has beats going like the clappers). From reserved and gracious, the mask slips when ‘Black Orchid’ becomes the Phantom of the Opera, synths screaming from an 8-bit pulpit before hustling back into the shadows, symptomatic of Zomby’s outbursts of anguish.

His quill inviting tomes of humbling electronic stealth to lash out in cold blood (the pure grime ‘Vortex’ is an open invite for emcees to taunt and insult over), and as skittish as the suspicion of his persona affords, ‘Dedication’ will raise more questions than provide answers. Exactly the ‘out of the palm’ manoeuvre Zomby wants you to eat from.




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