Review: Zig Zags ‘Deadbeat At Dawn’
As anyone that is around me on a regular basis, or follows me on social media, can attest to, I have become a massive fan of Los Angeles’ Zig Zags over the last year or so. The power trio, led by founder Jed Maheu on guitar and vocals, Sean Hoffman on bass/sound engineering, and Jeff Murray, (formerly of LA’s stoner punk ragers The Shrine) on drums, have fluidly and frankly peerlessly, concocted an unreal sonic potion.
Blending the best of vintage thrash, specifically Kill ‘Em All-era Metallica, with classic ‘80s hardcore, as well as ‘90s garage rock that’s all at once raging and feral, yet completely musical and technical, all the while, being catchy as fuck.
After a bit of a hiatus post-Covid, the band returned last year dropping Strange Masters, a re-recording of older songs, presented as a ‘fake live album’ whilst the band were demoing songs for their fifth full-length, and third on RidingEasy Records, the much-anticipated Deadbeat At Dawn.
After being totally floored by Strange Masters, I was excited to hear what new material, after six years since their last full-length, They’ll Never Take Us Alive, would sound like, especially with the addition of Murray on drums, and needless to say, I was not disappointed.
Deadbeat At Dawn opens confidently with Not Of This World. Starting with a pounding drum roll, before Maheu’s mid-tempo thrash chug introduces the body of the song. This is the perfect opener for this record, Zig Zags kicking the proverbial door in while unleashing all sorts of riffage, which is complemented by some serious, dive-bombing shred, recalling vintage Exodus. Hoffman and Murray shine instantly as well, keeping that low-end on total lockdown, but what makes them so notable is just how fluid the interplay between the two is.
We barely have a second to catch our breath before a blood-curdling scream introduces us to the charging, ferocious riffing of the monstrous Altered States, wherein Zig Zags take us on a thrash punk journey. Featuring multiple parts, crazy, chugging riffing, some gnarly bass noodling and more Exodus-style lead work. Not to mention the full-blown thrash drumming assault, which is extra killer as Murray does way more with a smaller kit than a lot of thrash drummers do with their massive set-ups.
Up next is the first single, and title track, Deadbeat At Dawn, which is an impossibly catchy, garage-thrash, downstroke beat recalling the ‘90s garage punk scene as much as it does early thrash metal. At War With Hell opens with a barrage of mid-tempo riffing, which is deftly anchored throughout the affair by a totally pummeling, yet nuanced rhythmic attack. The name of this track, for me, calls back to Newcastle’s legendary Venom, and their own At War With Satan album, albeit that’s where any comparison would end, as Zig Zags sound nothing like the first-wave black metal heathens.
addictive, catchy, SoCal thrash-punk energy…
Second single, the impossibly catchy Take Me To Your Leader is another clinic in downstroke, mid-tempo thrash metal riffing from Maheu, who’s tone and knowledge of this style of metal is on vivid display as he really is adapt at stacking riffs with timely chugs, that flow fluidly from one part to the next. One of my favorite tracks on the album is the ridiculously catchy garage thrash of Rats In Love.
Reminding me of early material from Seattle’s garage punk legends Zeke, but if they were playing thrash metal, it also recalls older Zig Zag tracks like Down The Drain from their self-titled debut, especially the tone in the excellent guitar solo. Meanwhile, Hoffman’s nimble fingers dance up and down the frets of his bass as he deftly anchors the song, while totally adding his own juice. The vocals are killer as they’re delivered with conviction and bite, while simultaneously being incredibly melodic.
Changing gears a bit, Above The Law is a ripping, fist-shaker that boasts all sorts of tasty shred and next-level rhythmic dynamics with epic pounding and fleet-fingered bass playing. Meanwhile Get Loud is a face-melting, thrashing, call to action and penultimate track, Metal To Metal, is another of Zig Zags mission statement, recalling Punk Fucking Metal off They’ll Never Take Us Alive.
Deadbeat At Dawn concludes with what is apparently going to be my new theme song, with the raging, pissed off spite of Say It To My Face. An angry, downstroke-riffer, wherein Maheu goes all antagonistic, in a way I can most certainly relate to, having gone through some similar shit this last year myself.
There’s a duality to Zig Zags as they are at once ironic, yet deadly serious. punk-as-fuck, yet features a guitarist who is completely capable of channeling the most vicious of thrash metal tones, riffs and shred. Deadbeat At Dawn is where Zig Zags go next level, as these guys not only know this kind of music inside and out, all three possess serious musical chops, so whatever the band’s vision is, it feels attainable when you have musicians of this caliber.
Additionally, no one sounds like Zig Zags, they are their own entity. There’s plenty of killer thrash bands out there, from Power Trip and Toxic Holocaust to Enforced and High Command, but none of them boast this addictive, catchy, SoCal thrash-punk energy, to say nothing of the band’s artwork and overall aesthetic. As well, the band aren’t shy about their influences, but I’d suggest their secret sauce is the ‘90s garage punk, which is spread over the thrash and hardcore for awesome results.
What can I say? I love this band, and Deadbeat At Dawn is a fantastic record, showcasing their continuing evolution, all the while staying true to their overall sound. This will undoubtedly find itself on my year-end list, and I’d encourage any fan of thrash, punk or garage to give Zig Zags a spin, as they really are one of a kind. Enthusiastically recommended.
Label: RidingEasy Records
Band Links: Facebook | Bandcamp | Spotify | Instagram
Scribed by: Martin Williams
