Seamlessly blending together the top brass of their sonic expeditions through the blurry bowels of human-animalistic morality, comportment and at times misguided sentimentality; the hybrid alternative artist ZAND piques the interests of transformative aural appreciators with their long awaited EP SEWERSTAR.
Since the release of their debut EP – Ugly Pop back in late 2019, the progression of ZAND’s versatility while remaining a staunch advocate for all things weird, bold and beautifully confronting has continued unabated, while they continue to prioritise the expansion of their discography with some of their most impressive audible amalgams in recent memory.
This latest chapter in ZAND’s zany brand of dark tinged guileless poetic mastery, has permitted the immersion of a certain strain of batshit lucidity to its overall production value, which has given rise to a truly intriguing resounding experience; especially via the fast growing adoration for such previously released singles as, the ultimate “come at me…” raging blaster ‘I Spit On Your Grave’ and the dominating exploration of religious trauma on ‘RELIGION’ which features the British DJ/Producer Shurk. However, the most appealing curiosities found amongst the runtime of SEWERSTAR, is that of the four other tracks which further expand upon its complex temperament.
While, ‘DESCENT’ and ‘L.E.E.C.H.E.S’ act as the embodiment of the entire record through its overstimulating production value, mysterious world building as well as expertly showcasing ZAND’s impressive vocal range; ‘Deliverance’ and ‘DTF’ ramp the alluring absurdity up to 11 with tales of achieving self-love through the metaphor of choosing masturbation over a cheap fuck, plus the marvellous rancour oozing through the onset of ferocious cirque du folie-esque manifestation.In stating all this, the true shining beacon of this multifarious EP is that of its most deeply emotive counterpart to the onslaught of Alt-Pop, Industrial, EDM switching marvels, with the tender hauntings of a survivalists confessions on ‘Battery Acid’.
Exploring the experience of intimate abuse, biphobia and eventual erasure in the final throes of a doomed romantic flame; ZAND reminds us about the need for greater allyship, acceptance and for lack of a better word – love, when approaching the contemporary issues facing the LGBTQIA+ community at large. It’s a reminder that the problem doesn’t only live within the slue of unfamiliar faces we see as the wilfully ignorant and bigoted, it’s also in the eyes of those we love, who refuse to love us as a whole person.
All in all, ZAND’s latest project is a wondrous excursion through a fully realised perplexing corner of the universe, which is hellbent on domineering the senses with its illuminating truism and relatable belligerence; such an exploration is preferential for any and all who seek catharsis through ethical abrasiveness, a lover of defiant queer voices and most importantly, a connoisseur of exceptional alternative soundwaves.