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znth / Press

“znth bill themselves as experimental pop/electronica... With twenty albums to choose from -- opera, Japanese (-noise-inspired-noise) or IDM -- their style is maddeningly broad, something that's continued on History Punishes Those Who Leave Last. There are glitchy software-constructed songs, there are indie-pop bounce and there's riot-grrrl-meets-calculator experimenalism -- and this is one of their more focused, approachable albums. It's a ride that, on paper, sounds like a disaster waiting to happen, but is actually one of the more compelling things I've heard lately...Their music is well worth seeking out -- with all the genre-straddling on offer here, there's bound to be something that speaks to you. This is something you deserve to hear.”

“I knew the Znth in Tallahassee. In different forms they went to DC and New York and find themselves now in Austin. 00:16: like a lot of Znth material, this opens up with quite a bit going on. A hint of 8-bit with sinister prog trappings. Something reminds me of Fuck Buttons. But then again, some of Fuck Buttons' stuff reminded me of the Znth. 02:22: Cracking beat. Recalls the "keep yr mistakes" destructive sweet spot Tricky found between Pre-Millennium Tension and Angels with Dirty Faces. 03:47: Hypnotic argument between the progression and the chimes. Squelches working their way in. Doesn't sound like but has some of the kinetic humanism of QBert's scratching. 05:30: The noise is slipping off the rigid rails and starting to sing. The chimes are getting sweeter. Don't know why I call them chimes. That's not what they are. 06:27: And we just broke down into a cosmic Jamaican New Romantic skronk. 08:10: It takes canny musicians to know how to use sax well and how much of it. ”