Zō –“Red Sky
Rustbelt Rock Reviews
By: Z.M. Delgado
Zackolantern.com
Volume #15: Zō –“Red Sky
Release Date: November 14, 2021
Independent Artist
After 7 months and frequent harassment from the author, it is my distinct pleasure to finally be reviewing the album “Red Sky”by Cleveland’s Zō. Up until yesterday, this album was available via streaming services alone, which always pisses me off. I have very few rules for my writing concerning musical acts. One of them is that I refuse to review music only available in this format. Call me old school, but I believe an album is a composition to be experienced in its entirety. That includes artwork, maybe some liner notes, the artist’s chosen song order and of course, my ability then consume it regularly and without commercial interruptions. Not to mention I only want to buy my music once, not pay a monthly fee for the right to listen. BAH! It’s crap. I believe high grossing bands with clout should boycott this entire system as it decreases the value of the art, diminishes fan experience, all while stealing from the artists.
Anyway… So, Zō… “Red Sky” was officially made available for purchase on bandcamp yesterday. This is something I have been waiting for since I first caught Zō back in April (RbRR #7). Zō is a Progressive Death Metal band. When asked to describe their sound, Dylan Andras of Assault said simply: “Long songs. Weird time signatures.” That only left me confused, and I had to wait for them to perform to gain any insight. What Dylan failed to mention, or perhaps wanted me to discover on my own, was that Zō kicks ass. I was thoroughly impressed with both their music and stage presence at that point. Naturally I wanted to know more, and so when I received the notification that Zō had released a “New Album” I frantically opened my app to see if the time had come… and gloriously it had.
One crisp Lincoln later, I was listening to “Red Sky” as quickly as my phone could download it. I pressed play and was immediately swept away by the opening number “Carnage.” Drummer Tristan Hughart starts it off with four cymbal crashes followed by sharp edged Rock guitar which jumpstarts the listener’s heart instantly. Frontman Cameron Bolyard comes in raging with his demonic, growling vocal style. He sounds the way I imagine a pterodactyl would, in the heat of combat or a mating ritual. Then the song changes gears and enters into a melodic chorus with the addition of clean vocals by Hughart and Bassist, Chris Bowman. This is the sort of thing that can really throw a song off for me, however Zō makes it work. The melodic portions in no way detract from the overall heaviness of the song. Rather they add strong contrast that helps to accentuate the rollercoaster that is Zō’s songwriting. “Wormwood” appears next with a solid bass driven intro sequence, followed by some strong work from Lead Guitarist Matt Flanagan. This song is less Rock and much more Metal in its sound than its predecessor. The galloping rhythm leading into the chorus is really energizing. Bolyard’s reptilian voice shines again and I particularly enjoy Hughart’s rapid fire cymbal attack following the chorus. Next up is “Lament of the Seas,” the first of two very impressive instrumental tracks. It begins slow and melodic with a strummed clean guitar. The shortest song on the record, at less than two and half minutes, it adds a nice touch to the first half of the album and more or less acts as an extended intro to the next song, “The Flying Dutchman.” This song has the most groove on the record. The guitar riff plugs along in mechanized meter as Bolyard utilizes a light approach to the verse, laying out an eerie tone that hangs over the music like a mist. Typical to their style they switch back to his snarling screams, adding a gut punch to the smooth groove.
“Lotus”is the second instrumental in the collection. If “Lament of the Seas” is impressive, then “Lotus” is mind blowing. This nearly 9 minute composition begins as a haunting and emotional trip into the heart of this band. It then slowly builds toward another very smooth and groove type mood. The song takes you through an entire spectrum of human sentiments without ever becoming too heavy to sit back and vibe on. Zō has the ability to convey more feeling in an instrumental than many bands can do with their best lyrics. This song is every bit the shifting emotive landscape that the band has weaved throughout the record. It takes the musicianship they exhibited on earlier tracks and pushes it out further; into far deeper waters. On an album that only consists of 6 total songs, I find it to be a bold move on Zō’s part to commit 30% of their run time to instrumentals. As it turns out, it was a wise gambit to run. “Lament of the Seas” and “Lotus”really accentuate Zō as a unique act, and showcases how they distinguish themselves from their peers.
The album closes out with its title track. The song “Red Sky” is the capstone, the pinnacle and the most ambitious work on the album. It is less a Metal song than it is a musical journey. Highs and lows, peaks and valleys fill the more than 9 minute composition as it builds toward a furious call and response at its climax that leaves the heart racing, and the listener hungrily salivating for more. I cannot find the sufficient words to explain just how much I enjoy this work of art. All I can say is that this song can’t be described, it can only be experienced. “Red Sky”, more than any other, clearly shows how Zō is so much more than “just another local Death Metal band.” They are avant-garde artists, pushing the boundaries of Metal as a whole.
Zō is a rare beast. They are as heavy as Lamb of God, while being as melodic and intricate as Tool. In a market absolutely saturated in Death Metal, I have to endure a lot of redundancy. The bands aren’t bad necessarily, but they are so damned similar that it is hard to be impressed anymore. Zō does not fall into this category. They are in fact a breed apart from the rest. I find their sound to be something truly rare and, dare I say, new. They have shades of early Dark Tranquillity. I could draw a comparison to Swallow the Sun; they certainly have the length as well as the highs and lows. However, I frequently find Swallow the Sun to be, well, depressing. Zō does not have this problem. Like I said, their music contains the whole spectrum of emotions, yet does not dwell on any one. Zō’s music is a road to be traveled, not despair to be wallowed in.
My final summation on this album is I bought it and so should you; it’s transcendent. Zō is an excellent band, who is bringing both a unique style and a challenge to the scene. They are showing songwriting of a caliber that far exceeds that of their contemporaries. If you like Metal that is melodic, touching and intense, while simultaneously as heavy as anything out there; If you like long and complicated song structures; If you like deep and enigmatic lyrics, then I believe Zō is the band for you. To the boys in Zō, keep reaching for it. Never stop trying to “capture that burning light.” Until next time, Rock on, Rustbelt!
-Z.M. Delgado
Rustbelt Rock Review
Zackolantern.com
6/15/2022
(Zō- “Red Sky”: A powerful album written by a rising powerhouse in the Cleveland Scene. “Red Sky” is as Rockin’ as it is compelling. Two sets of horns pointed to the red sky! Definitely recommend.)
