AMG Review of Nine Types of Ambiguity

Mark Richardson
All Music Guide

Very different from his album debut, Nine Types of Ambiguity reveals Vert as a rhythm-driven sound obsessive with a melodic heart. The digitally stretched tones and clicks that begin the first track "Blindsight" seem the sort of thing that would open an Oval album, but a warm bassline and playful drum programming fall in and establish Vert's pop agenda. This mood is carried forward with "Codfish Dada," which combines a wooden xylophone, toy keyboards, and assorted digital percussion into a wide-eyed soundworld. The rousing "To Doo Is to Be" is streetwise funk updated, Miles Davis "On the Corner" in a virtual neighborhood. The tracks that back away from the beats also work, as Vert is skilled with subtle ambient textures. With Eno-esque drones and persistent piano, "Last Night From a Bus I Saw" recalls Labradford, while the hurdy-gurdy organ melody on "Somewhere Between Here and Last Week" is reminiscent of Nobukazu Takemura. Nine Types of Ambiguity is a diverse album loaded with imagination.