On the Radar: Zom

Posted in On the Radar on October 7th, 2013 by JJ Koczan

If you’re looking to grab attention, having bright blue, red, orange and yellow lightning bolt artwork of a Shiva-esque alien destructive force made out of electricity might not be a bad way to go. Such is the fare in which DIY Pittsburgh duo Zom traffic, and while one might expect based on the striking visual that their music is a sort of hyper-caffeinated tech-prog full of fretboard sprints and light on groove, nothing could be further from the case. Zom‘s debut — a self-titled, self-recorded, self-released, six-song EP — rests easy on a bed of thick riffs and post-Pepper-era-C.O.C. burl American style, not quite veering into “hey whoa mama yeah” chestbeating, but hardly lacking dudeliness either.

Stoner metal in the sense of having more crunch than fuzz tonally but still using it to riff out, Zom (also stylized in all-caps) is comprised of vocalist/guitarist Gero von Dehn and bassist/drummer Andrew D’Cagna, who also recorded Zom at Sacred Sound (both are listed as producers).  Solos on three of the six songs come courtesy of guest-guitarist Justin Wood (Black Plastic Caskets), and Creighton Hill supplied the aforementioned cover art, but otherwise, Zom is a two-person outfit. Rather than bask in the inherent minimalism a guitar/drum duo brings about, Zom sound like at least a trio, if not a four-piece, in terms of their layering and the fullness. D’Cagna‘s bass obviously makes a huge difference in this regard, and while yeah, there’s two of them, from the start of “Nebulos/Alien,” Zom come across as a complete band.

I don’t know if von Dehn and D’Cagna are looking for anyone else to join or if they’ll make a go as a twosome — they’d have a hard time sounding this full live, at least without sampling or running the guitar through multiple rigs — but the songs on the EP are catchy and straightforward. More or less unipolar — set phasers to “rock” — one hears shades of a less fuzz-soaked Wo Fat and von Dehn‘s belted-out vocals follow his riffing more than ably on “Burning” and veer into echoing Southernisms on the 6:56 “Solitary,” so it’s not as if Zom only have grabbed attention only to bore, though at this point they’re clearly more confident in the weighted thrust that emerges even in “Solitary,” even if later. Still, both D’Cagna and von Dehn have done time in a host of Pittsburgh metal acts, and that experience shows through in an overarching sense of professionalism that runs counter to what one might expect from a “new” band.

The “Holy in the Sky” revision of “The Greedy Few” owes almost as much to stoner-era Cathedral as to Sabbath, but even there — I’d argue it’s the EP’s most obviously derivative moment and that it’s designed to be — Zom seem to be shooting to make something familiar their own, and ending cut “There’s Only Me” hints at a burgeoning melodic adventurousness in von Dehn‘s vocals in what would’ve been a strong hook even without, so they show some promise for continuing to develop a more individual personality. There’s part of me that thinks adding more members would aid in this, but there are an awful lot of three- and four-piece acts out there. A lot of duos too, but fewer shooting for a full-band aesthetic. However they choose to proceed, Zom‘s debut fulfills its electrified threat. If they wanted attention, well, okay. Now what?

Zom, Zom (2013)

Zom on Thee Facebooks

Zom on Bandcamp

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