Zanias - Cataclysm

Zanias aka Zoe Zanias aka Alison Lewis was born in Melbourne, Australia before relocating to London, whereupon she performed as part of Linea Aspera on Vocals and Ryan Ambridge on Synths. It should be highlighted that the duo had a couple of releases on the wondrous Dark Entries label home to works by Severed Heads, Nervous Gender and Kitchen and The Plastic Spoons.

Running in conjunction, Zanias solo career has proven prolific, with Cataclysm marking her fifth full-length release following last year’s Ecdysis. In addition to other projects such as Black Rain, Serpentskin and Keluar, she also runs her own label Fleisch Records. With the album’s PRhighlighting subject matter which ‘grapples with how to move forward through times when civilisation and the entire ecosystem of the planet feel like they are on the brink of total collapse’ it’ll be therefore curious to hear how the resulting sonics transpire.

‘Cataclysm’ marries the eerie ambience of Angelo Badalamenti’s work on Twin Peaks with subtle Drum ‘n’ Bass; Zanias’ Vocals meanwhile come across like Liz Fraser of Cocteau Twins as well asMadonna from around the time of Ray of Light. In fact had you told me William Orbit produced this I wouldn’t have been in the least bit surprised. See kids, THIS is how great Pop can sound when done correctly, a fantastic opener. ‘Naiad’ curiously has a remix feel and as such wouldn’t have been out of place on any number of 1990’s soundtracks ala Spawn. There’s also a little EBM slipped into the mix but with more variety than that offered up by Frontline Assembly or Die Krupps. The spiritual(ish) influenced Vocals has the potential to stray into the New Age horrors of say, Enigma, but thankfully it never fully succumbs. ‘Whiteout’ comes across a little like Enya at times, an artist the great Aussie comedian Steve Hughes described as “silence coloured in”. There’s an expansiveness to it and as such you could easily envisage any corresponding video featuringpanoramic scenes from nature.

‘Ghostbird’ has touches of The Cure’s Let’s Go to Bed’ as well as mid 80’s Ministry, giving fans of those bands and era such as myself a welcome nostalgic kick; meanwhile ‘Ashes’ is a sombre understated piece in the fine tradition of Hope Sandoval (both solo and with Mazzy Star). A really elegant number. ‘Dawn’ sounds glossy and I mean Nicholas Winding Refn Neon Demon glossy. It has its heart in the world of the clubs, which can prove off-putting or gratifying, depending on your musical perspective, I’m personally in the middle with it. Kraftwerk and The Human League come to mind with ‘The Spire’, what with the lovely catchy Synth-Pop on offer and ‘Serpentsmile’ reminds me somewhat of Gitane Demone’s (ex-Christian Death) dancier solo work but with darker Gothic vibes running throughout; resulting in something right up my street. There’s nothing subtle about ‘Human’a full-on Italian House number which one can envisage being played at Ministry of Sound. While not necessarily my scene, the track nonetheless has an exuberance and fun which can’t help but put a smile on your face. There’s some very nice atmospherics on ‘Happy Endings’ ala Manchester Post-Punk legends The Chameleons and the nifty Coldwave/Darkwave helps elevate it yet further beyond its four to the floor pounding techno beating heart.

I’m not sure if I managed to do Cataclysm justice, especially as someone who’s not versed in the scene(s) which Zanias predominantly belongs to. However with all that said, this is a really well-produced, well-crafted record which fans of her prior work will be able to appreciate.