By: Christopher Conte
This album opens up with the intimidatingly dark repetition of the word “anunnaki” by a male choir, thunderous orchestral drums and a rising tension that screams epicness. It seems the deities that allegedly created the human civilization (annunaki) are dauntingly in approval of Savant.
"Annunaki"’s successor is “Apocalypse” which albeit the frightening name is a quite lighthearted upbeat song, that is, until the end… when it turns into some classic Norwegian death metal. Which surprised me and I’m sure will do the same for the some hard EDM heads. Think Knife Party with more of a radio feel leading into a cold dungeon in the forests of Norway.
Songs like “Castle of the God” use an impressive array of different synths, from string instruments to grimy womps to melodic pop synth, quite interesting. If you want straight hard hitting dubstep check out “Desert Eagle.” If you want sick insanely danceable electro house check out “Meshugga.” Savant tries his hand and trap and completely delivers with "Nazareth." Combining an Arabian influence with heavy clean bass will be sure to get some asses shaking.
As the album progress, songs range from tunes you’d hear on the radio to dirty dubstep, including everything in between. Savant shows that he is completely capable of writing catchy songs spanning all genres.
Extremely talented and well-trained in music theory, Aleksander Vinter utilizes all types of instruments and sounds. ZION is a great example of what artists should be doing; an ever-expanding reach is what people want these days. We don’t want to hear the same beat over and over; the same song filtered and twisted to attempt to fool us into thinking it’s something new.
ZION weaves through countless genres with ease, no songs sound out of place with elements of nu-disco, reggae, drum and bass, you name it. Savant is well versed in all of the above. Diversity is its selling point. Whether you want some gritty bass or upbeat bouncy dance tunes look no further than ZION.
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