Uneasy listening. That would be the Itunes classification for Benjamin Blower's debut album, 'Its Raining Glass and Tears'. It's an aggressive, hostile collection of songs consumed with the breakdown of society, bitterness, paedo's, an album of sour tastes and animosity. It's not for nothing that the majority of the percussion tracks were drawn together from the sound of smashing glass, the cacophony of skyscrapers imploding, plummeting to the dregs on the ground amid chaos and confusion. Few expected such an album from Blower, whose breezy lyrics and ponderings in the mighty rap outfit The University of the King added much to the general weirdness of their previous projects. Friends, I should imagine, worried about him. They probably wanted to give him a cuddle and check he was alright. Hide the sharps from his kitchen and check the cupboard for pills. To see whether he meant it, whether this truly was his view of the world he existed in.

Thankfully, The Pillar of Smoke sees him in a more positive mood. The EP 'Babylon Is Dead' released as a free download earlier this year demonstrated a tribal, free-flowing sound, more organic and less reliant on electronics, showcasing his skills as a guitarist and on the double-bass. This album was actually recorded ahead of the EP but the two fit together perfectly, both in general tone and in subject matter.

Faith is paramount to Blower, and his lyrical themes speak of his belief in the God of Israel, falling a pipsqueak short of sermonising. Biblical imagery forms the backbone of his songs, the titular 'Pillar of Smoke' God's method of providing the refugees safe passage out of Egypt. 'Holy Smoke' expands on this theme, an amalgam of processed drum snaps, double bass and Blower's riveting tale of salvation. He uses the yarn of a chase between man and rhinoceros to provide an allegory for the Israelites passage, staring down the monster, choosing the hard path over the easy ride. Rhythmically, lyrically, emotionally, the song cannot be faulted, the pillar of smoke that guides the listener thematically into the album.

And tales of liberation, where this album really dovetails into the preceding EP. 'Babylon is Dead' spoke of rampant consumerism, how immorality feeds markets ("Perverted zombies are good for the economy, and if we all lived righteously the economy would collapse"). 'Better Be Ready' picks up this theme from a more spiritual viewpoint, drum heavy Burundi beats swaggering the tribal, circular sound, the lyrics pleading for expediency and preparation. "Blood and Snow" starts with a simple, plaintive piano motive, before a roaring chorus of redemption, and 'Why Should You Give a Damn About Me?' cuts through an expression of gratitude. The song ends as if Blower is overcome emotionally and unable to continue, as he coughs, removes his microphone, his footsteps heard fading as the door closes behind him.

The flipside of the album feels very different to the first. The songs here are longer, more involving, and less easy on the ear. 'Everybody Knows But No-One Cares' is a real departure, even featuring a guitar solo in the most conventional song he has ever produced. 'O Unfaithfulness' sounds like early Beck, whilst 'We're In Trouble Now' starts slow and ponderous before tumbling in a cascade of sampled drums and rantings. And then 'I'm Ready to Climb the Mountain and Die', a slow meandering piece with an aggressive heavily bowed cello, before the raging passion of the final track.

Zang Productions have yet to release a duff album. They consistently produce interesting, derivative, and passionate music that never fails to amuse and stimulate in equal measure. They are prepared to experiment with different styles and genres, hugely evident on this peerless release. It does require effort to penetrate its tough shell, but the rewards are infinite.
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Benjamin Blower on MySpace