Michael Zuzek’s latest LP, “Everest,” is a profound exploration of human emotions, blending heartfelt lyrics with masterful instrumentation. This album, produced and mastered by Zuzek alongside Aidan Ellison, presents a rich tapestry of musical talents, with Zuzek himself taking on multiple roles from engineering to drum programming. Each track is a testament to his multifaceted artistry, supported by a team of talented musicians including Maarten Colenbrander, Scott Fordham, Marco Ciardullo, Brandon Marks, Leah Vanderbyl, Robbie Robertson, and Connor Cholman.
The album opens with the introspective “The Man Who’s Never Found,” where Zuzek’s vocals weave through his own piano and synth arrangements. The bass lines of Colenbrander and Fordham, paired with Ciardullo’s electric guitar, create a soundscape that is both haunting and captivating. This track sets the tone for the album, introducing listeners to the depth and complexity of Zuzek’s musical vision.
“All Comes Back” follows, a collaborative effort featuring Zuzek, Fordham, and Robertson. This track is a juxtaposition of lyrical melancholy and vibrant instrumentation. Zuzek’s voice, accompanied by his piano, e-piano, and organ, merges seamlessly with Colenbrander’s bass and Ciardullo’s electric guitar, creating a rich auditory experience.
The tempo picks up with “5000 Days,” a high-energy piece driven by Zuzek’s passionate vocals and dynamic piano and synth lines. Colenbrander’s bass and Ciardullo’s guitar work add layers of intensity, making this track a standout in the album’s progression.
“No Other” introduces a slight shift with the inclusion of live drums by Leah Vanderbyl. The track’s structure, with its varying BPM from verse to chorus, creates a compelling dynamic. Brandon Marks’ electric guitar solos provide a soulful contrast to Zuzek’s piano and organ, highlighting the emotional depth of the lyrics.
In “Sweet And Kind,” Zuzek’s narrative songwriting shines through. His vocal delivery is complemented by the warm tones of his piano, e-piano, and organ, while Colenbrander and Ciardullo’s contributions offer a consistent backbone that supports the track’s sentimental core.
“Mean Old Woman” showcases a grittier side of Zuzek’s musical range. The song’s raw energy, driven by the combination of Zuzek’s piano and organ, Colenbrander’s bass, and Ciardullo’s guitar, is a tribute to the blues influences that permeate the album.
“Has My God Forsaken Me” is a poignant reflection on spirituality and existential despair. Zuzek’s emotive vocals and organ work, paired with Ciardullo’s guitar riffs and Colenbrander’s bass lines, convey a sense of urgency and introspection.
“Hand Picked” stands out with its intricate guitar work by Connor Cholman and Ciardullo, alongside Scott Fordham’s bass. This track’s lyrical narrative is enriched by Zuzek’s piano and organ, creating a layered and detailed composition.
The album’s quieter moments are epitomized in “Scott’s Song,” a collaboration with Fordham. This track’s delicate interplay between Zuzek’s piano and Fordham’s acoustic guitar, supported by Colenbrander’s bass, delivers a heartfelt, folk-inspired ballad.
“Veronica” is another high-tempo track that brings a playful energy to the album. Zuzek’s piano and e-piano melodies, underpinned by Colenbrander’s bass and Ciardullo’s guitar, create an infectious rhythm that is hard to resist.
“I’d Love To Have Your Loving Back Again” and “Graystone” round out the album with their deeply personal themes and rich arrangements. Vanderbyl’s drumming on “I’d Love To Have Your Loving Back Again” adds a dynamic pulse, while “Graystone” features the acoustic guitar talents of Colenbrander, offering a reflective close to the album.
Overall, “Everest” is a testament to Michael Zuzek’s versatility and artistic vision. The album’s rich instrumentation, heartfelt lyrics, and collaborative spirit make it a compelling listen from start to finish. Each track offers a unique glimpse into Zuzek’s musical world, making “Everest” a true auditory journey.
–Tom Taylor
