A2Z – A2Z² Review

[Cover artwork by Hugh Syme]

I am an easy mark for a band like A2Z (also known as A-Z, AthruZ, etc.) First, the project involves two players I’ve followed basically since time began: 1) Mark Zonder, who was / is largely responsible for the early / latest forays from USPM legends Warlord, as well as two of my favorite Fates Warning releases in Perfect Symmetry (1989) and Parallels (1991), and 2) Ray Alder, longtime Fates Warning / ex-Redemption vocalist, and one of the more celebrated singers in heavy metal’s long history.

Second reason for my suckerdom: The suggested purpose of this project was originally intended to recapture an age when BIG rock songs underscored BIG splashy hooks, and even though I was far too engaged with the nascent metal scene in the early / mid-80s to find a way to be impressed with the likes of Foreigner, Bad Company, Journey, Styx, Boston, Toto, etc., those bands and their songs were a routine and comforting presence inside a house where the radio was playing pretty much the entire day. So, yes, that sweet, sweet dopamine hit of nostalgia played a significant role in my A2Z enthusiasm when word of the project first dropped a few years back. And by Kevin Cronin’s meticulously ‘scaped helm of hair, that A2Z debut absolutely delivered on most every available front by taking the already unmistakable Alder / Zonder connection and making it fit for the airwaves circa 1983.

Okay… It delivered on all available fronts that didn’t include the album cover.

YES, I’m still shook by the debut’s cover art. That ffffffffffff zebra grill was a chilling glimpse into the mouth of madness, where madness involves a desperate cry for flossing with elephant grass. I’ll admit one thing, though: It was MEMORABLE, like the first time I nailed my eyes to the cover of Destruction’s Release from Agony—an album cover I happen to love today. So, maybe I’ll appreciate Ziggy the Zebra more in about 20 years? And as long as we’re on the subject… Are… Are you looking at the zipper on the alligator up there right now? Can you take your eyes off the zipper? Please take your eyes off the alligator’s zipper (is a sentence I never thought I’d type out loud.)

Same renowned artist here—Hugh Syme—and an equivalent approach to visually capturing the full span of our alphabet for A2Z album number two, A2Z2 [R2-D2 screeeeeaaaaaam]. Actually, I the title is intended to be A2Z², which leads me to believe the record should take everything laid down but the first album TO THE NEXT POWER, which sounds great. Anyway, if it finds some way to matter, I actually enjoy this cover artwork. Sure, it’s ridiculous, as progressive rock at times prefers to be, but there’s a pleasantness afoot that’s largely rooted in the detail Syme puts into those alligator eyes. It’s a cuddly looking alligator, ffs. And there’s no way that lil fella’s gonna eat us whole, especially if we get that zipper closed. [Charles Darwin falls down several flights of stairs]

Okay, on to business. First and foremost, things have changed in the A2Z camp over the course of the last few years. Nothing too drastic to mark a hairpin turn, mind you, but this sophomore effort shifts in a direction I wasn’t actually expecting. In truth, I was sort of hoping they’d double down on the radio rock angle, with perhaps a little more adventuring analogous to Styx. If that seems like a strange request, which it is, just understand that having that arena rock realm readily available in my nostalgia bank has a significant impact on the request. And for what it’s worth, I’m sure there are other bands out there currently paying homage to that style today, but it’s probably not being done by veterans of this caliber, so I was definitely looking forward to the next level on A2Z².

That being said, I am not about to sit here complaining about something that involves this level of song-crafting, being played by musicians with this level of talent, and vaulted even higher thanks to a singer that absolutely nails it front to back. Bottom line: A2Z² still delivers the A2Z hook, but it’s heavier and slightly darker when stacked next to its notable predecessor. Does that mean you should expect Theories of Flight Pt. II? Nope. But the record does feel a touch proggier and a smidge more aggressive, so it’s headed more toward modern Fates Warning as opposed to, say, World’s Apart-era Saga. Check track two, “Running In Place,” as an example.

Not terrifically ‘angry’ when compared to most of the stuff that gets coverage around here, but the foot is absolutely hitting the pedal compared to the debut, and you can definitely hear more grit in Ray Alder’s voice as he belts out all them words. We even get some gang-shouted background vocals around the 2:20 mark, which is absolutely new. Sure, that’s quickly followed by a series of extremely pleasant guitar solos and bassist Philip Bynoe’s spirited bubbling (Bynoe really shines on this record), but it still sets the stage for a more assertive album overall.

The next cut, “Nothing Is Over,” swiftly reestablishes A2Z’s penchant for a leveling hook. It kicks off hard rockin’, with Zonder’s familiar fills delivering most of the heft, but by the 30-second mark it quickly hurtles off to the more vigorous approach initiated by the previous track. Alder is roaring, and the keys in the backdrop add a nice bit of ‘Deep Purple power-punch’ that aligns wonderfully with the heavier riffing. Then, boom: in rolls a chorus that’s catchy and beaming enough to conjure Steve Perry right out of thin air. “Hey, guys, what’s happening in here? Room for me on the couch? Oooh, you gonna eat that Uncrustable?”

The shift toward moderately heavier / grittier waters isn’t as much of a surprise once you discover A2Z in 2025 is a largely different band compared to the 2022 version. Gone is the choice duo of guitarist Joop Wolters and keyboardist Vivien Lalu of progressive metal outfit Lalu, and in their place comes Alder Redemption accomplice Nick Van Dyk on rhythm guitar and longtime Alcatrazz keyboardist Jimmy Waldo, who also joins Zonder in the current amalgamation of Warlord. Waldo (he’s right there, if you’re looking for him) plays a fairly understated role here compared to what Vivien Lalu did on the debut, which is a bit of a bummer, but NVD takes on a larger responsibility by co-writing the songs alongside Zonder—likely the biggest factor leading to A2Z²’s added heft.

Another notable change is the addition of Simone Mularoni on lead guitar. If you’re unfamiliar with the name, know that he’s also responsible for the totally pristine, top-shelf production on both A2Z releases (seriously, these records are WONDERFULLY produced), in addition to playing guitar for Italian progressive / power kings DGM and Redemption (for live shows). He is an exceptional lead guitarist, and every song on this record showcases his knack for leads that are galvanizing and complex, but never unduly noodley. Also worth noting, there are approximately two billion leads scattered throughout these 48 minutes, so bring a change of underwear.

And hey, I know I’ve made a point of underscoring the album’s shift toward added heft, but there’s still plenty of the band’s more gentle face represented here as well. Cuts such as “A Wordless Prison,” “Reaching Out,” “This Chaotic Symphony” and closer “Now I Walk Away” all blend in loads of moody mellowness, but even then things never feel outright wimpy / overly sentimental. Think… cityscapes quieting after 2am and being appreciated with a sense of deliberate seclusion and you’re basically there.

So, does A2Z² manage to eclipse its predecessor? A little more time is required before a final verdict can be rendered on that front. For sure, with each listen there are new and interesting details that manage to wriggle their way to the surface, which in a way belies the more straightforward design the project initially set out to convey. One other thing that remains exceptionally impressive is the fact that the band counts three members in the ranks with 40-plus years of activity in heavy metal, hard rock and prog, yet those dudes still appear to be operating at the top of their game—a phenomenal achievement, and something I sorta wish I could say for myself. And, yeah, the rest of the guys are far from novices as well, which makes this an ideal record for anyone who understands composition techniques and loves singling out specific players song to song in an effort to assimilate all the subtle intricacies.

Or, maybe you’re like me: a metal nerd who enjoys leaning progressive and understands as much about music theory as a old barn cat, but very much appreciates the fact that the same two individuals responsible for stellar records such as Parallels and Perfect Symmetry can continue to make music this gratifying. And with that in mind, might as well close things out with “I Am Numb,” a song that almost feels as if it could’ve been torn from the pages of a modern Fates album, and a track that really underscores that unmistakable Alder–Zonder connection to the Nth degree.

“Close your eyes, forget the fear, and leave the past behind.” – not the worst prospect when the future eventually leads to something that sounds this good.