Back in 2007 I managed to hear this band through their debut, “Infamy and The Breed”, and was staggered at what this young lot, at the time, had to offer. Some two years after and “The Cancer Empire” was let loose to excellent reviews worldwide once I had checked and it does appear that Zonaria were really quite special indeed. Three years later (I hope it isn’t four years to the next based on their seemingly geometrical release rate and my weirdness for numbers) and we have the third album “Arrival Of The Red Sun” and you can tell that the group has learnt a vast amount from the hefty stints on tour with heavyweight acts like Satyricon and Dark Funeral. The band has opted for another studio for recording after using Sunlight and Studio Fredman for the first two albums respectively. It is unusual for bands to switch studios as often with both previous albums being crushing pieces of extreme metal with thoroughly vicious productions. Zonaria know what they want and this third album, may not see them treading new ground but the song writing and ingenuity bar is set much higher and is lined with razor wire and spikes.
The band has a unique flair for blending keyboards with their riffs that make them sound more elaborate rather than diluting them. The title track gets this under way and it appears slower than expected with keyboard layering generating lots of atmosphere. More thought has been given to the flow and with a focus on symphonics for dramatic power. The drop into an acoustic section is very good and the lead guitar is quick but tuneful. A huge amount of symphonics opens “Silent Holocaust” as by now most will be saying the band has wimped out as the speed has been reined in somewhat in favour of grandiose melody similar to maybe Amorphis on their heavier side. The lead again is luxurious and whilst I’m not a lover of too much pinch harmonic or fretboard wizardry they work for each tune. The cleaner vocal style is also kept intact from previous albums, something I am glad about as they always work in their songs. After the couple of mellow tunes “Gunpoint Salvation” opens with a chainsaw riff that would fit on any old Swedeath album. Again the synths add colour and texture to this album that continues on “Liberation Zero”. This song has elements of the Daath debut to me with a chugging guitar riff but a lead out of the Bodom beach camp terror (yes I know I stole that from a Bodom song title, that’s the point).
I always look for comparison points with bands and “The Blood That Must Be Paid” is like Blood Red Throne’s fixation with double bass rhythm. Zonaria always add a drenching of melody to their songs, which I personally think makes them stand head and shoulders above other acts in this genre. “A Lullaby For Those Still Alive” is hugely modern with a mountainous and thunderous double kick. Bands like this can’t escape my radar for comparisons and memory for similar riffs or hooks which isn’t a bad thing it just means that Zonaria’s musical literacy is sky high as “Full Spectrum Dominance” has riffs similar to Cannibal Corpse to these well used ears something that continues on the penultimate tune “My Vengeance”, another slower more focused pummelling song. Ending the album is “Face My Justice” and here I will liken the structure to Dimmu Borgir, though make no mistake this is death metal. There are also hints of Behemoth throughout the album especially on the blasted sections as the tune finishes like it began, slower, more thoughtful and polished to obsidian darkness.
Those seeking Zonaria’s third album to be like the first two will be disappointed, but those expecting the band to branch out a little will be very pleased and may even say this starts a new direction of musical endeavour for Zonaria in the same way that Keep Of Kalessin has shifted in the last five years or so.
7.5/10 (Martin Harris)
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