ALBUM REVIEW: Zon – The World Is Quiet Here
If metal genres were predatory animals (how all good reviews start, of course) then the distinctions would be quite clear. Thrash would be a black mamba, striking fast and venomous, hardcore would beat the stout chest of a silverback gorilla, whilst grindcore would probably manifest as some unspeakable monstrosity that would disgust its victims into a merciful coma. There is however, little comparison for something that baffles its prey into lunacy before liquifying it – likely something with at least 85 legs – but apex predators THE WORLD IS QUIET HERE (TWIQH) would undoubtedly fit the bill. In a titanic leap in ambition and prowess, TWIQH‘s new offering is as puzzling as it is profound and lands the newcomers on a strong course towards the head of the food chain.
Turning the clock back momentarily, however, to the band’s 2018 debut Prologue, and we uncover a peculiar tale. For their modest size, the album’s highlights boast impressive streams – with many surpassing tens of thousands – but dedicated listeners only just breaching the 500 mark. Whether it be a trivial matter of Spotify algorithms continuing to fail artists, the reality is that people are liking what they hear but aren’t sticking around. Zon could and, more crucially, should be the answer. Zon is the lightning that strikes twice. Zon is excellent. As hinted with the aforementioned superfluous metaphor, the work of TWIQH is one of ruthless complexity, staggering virtuosity and a deft balance of influences to retain a sense of identity that never becomes overdiluted. Imagine BETWEEN THE BURIED AND ME, MESHUGGAH and OPETH weaved atop one another and then set alight; blinding chaos that’s impossible to look away from. But how does this translate?
Bending its way through a labyrinth that stretches well over the hour mark, Zon’s approach is an extension of Prologue’s own success and beyond with a few screws tightened and an even more desperate hunger to push comfort zones wide open. The resulting tracklist here is a bewildering affair and rarely gives moments to breathe. Djent, death metal, psych and progressive metal all marry in a flurry of unsettling tempo changes, eruptive chugs and beatdowns, and a set of vocal pipes to form a fittingly acid icing on this very angry cake. The album’s enormous centrepiece, Heliacal Vessels I & II, is a terrific example. This 24-minute behemoth explores every shade of hellfire the band offers, from its unrelenting first quarter, the undisturbed beauty of its prog-rock phases, to the spoken tirade that matches lofty virtuosity with a steely narrative.
It’s mostly fair to observe that these tracks, and by extension this type of prog metal, aren’t as ‘memorable’ due to their rapid pace and sheer complexity but, nevertheless, Zon never fails to entertain. The spectacle of each member’s performances, for example, is an undying source of jaw-drops and goosebumps. Vocalist Lou Kelly, especially, could warrant a separate review of his own. His mastery of cadence, pitch and a seemingly endless range of distortions gives the album something closer to the cry of an army compared to one man. For a band that prides itself on nuance and standing on its own merits, this is a crucial point.
Where Zon may struggle are minor sticking points, at worst. Kelly’s vocal wonders can sometimes be lost amongst the crowd where the production doesn’t do enough to lift him above the rest. Its weight and ambition can also detract as much as it gains for the five-piece. Impetus I – Torrid Sands while not being Zon’s longest track could benefit from the swing of the editor’s axe. Some melodies go by the wayside alongside the odd forgettable riff here and there – a slightly bitter closing note for an album of such great heights.
Zon speaks to the metalhead that likes all courses served at once. It’s indulgent, spacious, claustrophobic, acerbic and gentle in the same breath but the final aftertaste is as sweet as intended. Its 100mph approach won’t please everyone but that’s okay, TWIQH have successfully dug their niche and are doing so with utter abandon. It would be little surprise if the next album is a single, two-hour song with a kazoo solo served in the intermission; and it would be even less surprising that it would be brilliant.
Rating: 9/10
Zon is set for release on January 27th via Silent Pendulum Records.
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