Despite taking its name and influence from a 17th-century baroque sculptor, Vanessa Anne Redd’s second album Zumbo Waxes is a vibrant and contemporary one of relevance, focus and ambition.
It’s obvious that Redd has a deep-rooted fascination with what essentially relates to the core of human existence, and naturally leans towards classic themes such as human frailty and existential angst. Compiled and presented as a series of excerpts representing micro themes, those same themes make up or emulate the overriding one: the cycle of human life.
If this all sounds deep, heavy or full-on for the start of the year, read on, because Redd’s chosen form of expression is mostly light and genuinely approachable. The choice to present things in a soft, soothing tone of voice makes a difference and this is partly why the album stands out. There is plenty of instrumental and vocal variety on display too, to keep many different listeners interested.
Take a track such as the opener Battle; the combination of using a traditionally sounding Hammond organ but mixing it with a country-fused guitar creates the sense of a warm welcome. Signifying the start of an existential journey, this is followed by some finger-picking and echo-effected vocals on Nightbirds while tracks such as What’s Next and The Breeze are examples of the rock and roll element, the latter is about love but it’s delivered in a 1950’s energetic, fast-paced Chuck Berry-style and vibe.
A rather different sound is encountered on Dirty Wheels, a quiet and intimate song making use of husky whispered vocals creating a sense of this being a personal but special place. But then something different happens on When I Compare, its choice to include a classical guitar figure wrapped in a cover of violins and violas gently demands attention. The glissando from the guitar creates a lush and soothing effect, this probably one of the best songs on the album. Redd goes on to vocalise her understanding of having the ability to really appreciate something instead of just realising it when she sings ‘it’s not as bad as I believe, not every destiny is sealed’.
Nevertheless, No More Alarm represents a sardonic take on the love song as a thematic genre. Using a trumpet as an instrumental adds a different dimension to the record whilst displaying vocals reminiscent of the likes of PJ Harvey and Regina Spektor. Seemingly, this song takes a look at how life is full of insecurity but how it also has the ability to protect.
Taking the listener on a fully realised journey, Zumbo Waxes utilises a nuanced emotional palette but does so by using universally applicable language. A lot of juggling takes place, but what really does create a sense of fulfillment here is that both thematically and musically everything comes full circle.
This is not an easy thing to achieve.
