Movin' On

Nu Jazz hits the dance floor. Andezzz has brought a slightly different accent from Sova, his former collaboration project.  But don't expect this album as repercussion. Although the composition does not go far away from what he used to create, his new tracks sound more sophisticated in arrangement, underlining hip background music ornaments. 

Still maintaining simple melody, like in Udonthavetoknowtonite, and typical rhythmic beats in Saat Itu Juga, Andezzz knows better than anyone of what value he should persist in, besides stepping up a brand new formula. As far as I am concerned, that is his selling point. It seems that musical study he majored abroad really pays off. 

Saat Itu Juga takes us back to the strong influence of Sova’s conventional style. And that makes up the reason why the song becomes the pivotal point in this album. It is as if the song thrives with the same concept, yet different idea. Maybe Andezzz chooses to think wild play safe, so that he could prevent his fans from having hiccups just because of trying to listen to his new varied pieces. 70’s Dance oriented beat pattern takes into account in Tersenyumlah. However, the monotonous chord progression and unchallenging melody put down the attractiveness to the song specifically, and the album generally. 

Well, aside of exploring chill out music composition, of which I give four thumbs up, this album lacks of sparkling element needed to drive up the mood. Tersenyumlah, Kehadiranmu – Kasihku, and Pergilah sound flat and unexciting, resulting an aimless middle part in this album.  In my opinion, one way to solve this hardship is by composing sweeter harmony. Andezzz provides cool toned melody in most of the tracks. People are delighted for that. But I believe it takes more than that to reach out wider acceptance. Why Don’t Just could represent a good example to redeem the particular weakness in this album. The song contributes a perfect groovy sense, in terms of the punchy beat, yet warm tonality. The harmonic structure, be it the rhythm or the chord, both are indulging and colorful. Andezzz should have been scrutinizing more on this particular area. 

Sinaran undertakes transformation into techno style, in which minor chords take the wheel in many bars. But the chorus gets back to its real composition after the breaking session, to which I consider better off this way, rather than swapped like before. Nevertheless, Andezzz could unwind an intricate feel to the decades-old song. Change For Me serves an intriguing high vocal register. The soulful song is rich in melancholic, slow funk flow. Lamunan Sepi directs the notion of lounge atmosphere, as the sound of rainfall is caught intimately. Once again the tone lines drift extremely slowly, and the harmony goes diatonic. Only two main chords that take major part. 

The best thing in this album lies in the consistency to the opted genre, relentless and profound exploration, not to mention the chilling spirit that reflects passion and signature of the center man whose name I need not repeat any longer. It is regrettable that the composition can’t be more market oriented. Andezzz puts his idealism above all, and that may be one of the reasons he keeps moving on.