Zao Albums (9)
'The Fear Is What Keeps Us Here'
Release Date 6/13/2006
Tracks 11
Label Ferret
See Album Tracklist and Review
What The Critics Say
Dogged by constant musician turnover, Zao stumbled and spluttered throughout the early 2000s, just as the metallic hardcore style they helped define was enjoying its greatest commercial acceptance via contemporaries and inspired followers such as Shadows Fall, Unearth, and Killswitch Engage. 2004's Legendary collection appeared to symbolize the nail on their collective coffin, especially as it followed the definitive departure of founding drummer and guiding force Jesse Smith; but long-tenured members Daniel Weyandt (vocals) and Scott Mellinger (guitars), were soon lured to carry on by a new contract with leading independent Ferret Records, hiring a new rhythm section and frightening many of their devout Christian followers with the following year's mixed-review concept album, The Funeral of God. Then, for its 2006 follow-up, The Fear Is What Keeps Us Here, the band teamed up with renowned analog-only producer Steve Albini, and once again toned down (while not necessarily disowning) their Christian past, to come up with an album (their tenth!) representing the very extreme of what one might still like to categorize as metalcore. True to Zao's pioneering standards, uncompromising new tracks like "Kingdom of Thieves," "There's No Such Thing as Paranoia," and the zombie love story "My Love, My Love (We've Come Back from the Dead)" are as memorable as they can be perplexing; combining lyrics as arcane as they are thought-provoking with daunting musicianship, discordant riffs, percussion avalanches, and death-growls as guttural as have ever been heard this side of the Atlantic. In other words, here's a band consciously fighting their own fans' preconceptions, while challenging themselves to push the envelope of extremity just as the bulk of their contemporaries are taking the right-hand path in search of a good commercial score. That in itself, justifies Zao's continued existence, despite the recent departures and travails -- they still have an important mission to fulfill. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
Parade of Chaos has been hailed as influential metal-core group Zao's final studio album, and while it may lack the intensity that earlier works from the band have embodied, it is a fitting departure for one of the hardcore scene's most valuable players. Frontman Daniel Weyandt returned to contribute vocals after his previous departure, and his offerings here are quite possibly some of his best. The intensity of Weyandt's conviction shines brilliantly on "Free the Three," a song which deals with the widely publicized West Memphis Three murder case. As always, Zao never avoids disrupting the expected metal-core formula, and electronica, alternative rock, ambient themes, and more infiltrate the decidedly heavy exterior more so than ever on Parade of Chaos. Zao has been considered one of heavy metal's most well-respected and worshipped bands in the '90s, and the levels of recognition they have achieved are phenomenal for a group based around their religious faith. If the band insists on ending their career, Parade of Chaos ushers them out with as much tenacity as they entered with, and while it never manages to recreate the triumphant feats Where Blood and Fire Bring Rest did, it certainly leaves many of their followers in the dust. ~ Jason D. Taylor, All Music Guide
What The Critics Say
This ever-changing lineup has brought their fourth album, Self-Titled. With Scott Mellinger on guitar, Rob Horner on bass, Dan Weyandt at vocals, and Jesse Smith behind the drums, Zao seems content to blast out the brutally heavy death metal with a few curveballs. The drums are one of the first things that the listener will notice, as they have more of a blast beat sound, similar to drumming that dark metal band Nile has perfected. They resonate as very artificial and almost synthesized sounding, reminiscent of Scandinavian black metal. The bass doesn't seem too prevalent in the mix, but the drums and guitars certainly are, as are extras like keyboards and more guitars. This album breathes with lots of heavy, death metal guitars. Vocally, Weyandt sounds as sick as ever, and Smith pitches in on a few tracks with some actual singing, showing Zao's range and potential. Weyandt's vocals are remarkable, though. Primarily demonic sounding low-pitched growls, they amazingly have some scope to them with whispers in parts and torture-rack screaming on others. Weyandt and Smith's lyrics are noteworthy as well, covering topics such as women that lead men on, trash talkers, lost dreams, and murder. While there are a few tracks on Self-Titled that could have been left out, others, such as "The Dreams That Don't Come True," show Zao at their best, combining Smith's singing with Weyandt's deep growls along with beautifully melodic guitars that shift into death-defying low-ends. While this album isn't Zao at their prime, it does show a nice progression to their work, as well as a good degree of creativity from a genre that is all too often noted for redundancy. ~ Kurt Morris, All Music Guide
'Liberate Te Ex Inferis'
Release Date 1/1/1999
Tracks 10
Label Solid State
See Album Tracklist and Review
'The Splinter Shards the Birth of Separation'
Release Date 4/15/1997
Tracks 10
Label Tooth & Nail
See Album Tracklist and Review
What The Critics Say
There exists a small pocket of hardcore kids who will insist that one of Zao's earliest lineups -- consisting of guitarist Roy Goudy, bassist Mic Cox, singer Shawn Jonas, and drummer Jesse Smith -- was their best, despite later incarnations' popularity. It was precisely this lineup who recorded All Else Failed, the Ohio/Pennsylvania/West Virginia-based band's debut album. All Else Failed is chunky, heavy, and pummeling and derivative of the metalcore style initiated by Earth Crisis and maintained at the time of this album's release by Strife and other hardcore groups. The lyrics are very evangelical in tone, reflecting the bandmembers' then-newfound faith in Jesus Christ. This record -- released by the small Steadfast label -- earned Zao the attention of Tooth & Nail Records, who signed them to a multi-album deal. Their first recording for Tooth & Nail features six of this album's songs re-recorded. In 1999 Steadfast reissued this album with new packaging, and in 2002, the current Zao lineup, with Smith the sole remaining original member, announced plans to re-record the entire record for Solid State. Far less innovative then the albums Zao would become known for, the original version of All Else Failed is for completists only. ~ Ryan J. Downey, All Music Guide
What The Critics Say
Zao is Casimir Zoba, a Congolese humorist -- actually I would say satirist is more accurate (he sings largely in French). Zao stands for Zero-Admis-Omnipresent and his music is sweet and slinky, a perfect compliment to his husky, intimate voice. This is a fine CD overall, but it also includes his 1985 hit "Ancien Combattant," one of the most scathing and yet beautiful songs I've ever heard. As John Storm Roberts says, he has strong similarities to Francis Bebey. ~ Carl Hoyt, All Music Guide
