PlanetMosh Keeping it Metal
ANZI – Industrial punk rebel releases spectacular second album ‘Black Dog Bias’ on 22nd June
‘Black Dog Bias’ is the stunning second album from Finnish-born London-based industrial rock rebel, Anzi. Taking its title from a known phenomenon in animal shelters, the record explores our subconscious fears and prejudices, and sets its findings to a modern-yet-organic soundtrack of growling, fuzz-distorted guitars, industrial malice, and storming, danceable synthpop hooks.
Drawn to the dark side as a songwriter, and displaying a manic wild side in his rabidly energetic live performances, Anzi was deeply struck by the notion that large, dark-coated dogs often end up being put down, as a result of adopters’ sensitivity to the fear and stigma associated with certain breeds. Having owned Dobermans, and found people’s preconceptions of the breed to be wholly inaccurate, hebegan to wonder, “what else in this world do we tend to fear and pass over without better knowledge”. These questions became the starting point for ‘Black Dog Bias’.
Out on 22nd June, via Chemistry Music Enterprises, the album itself is a mongrel beast, mixing diverse influences, which reflect Anzi’s own vibrant and varied musical journey to date. He started his career as the fire-breathing livewire lead singer of punked-up hard-rockers Stereo Junks!, whose globe-trotting touring built them a loyal fanbase everywhere from the UK and Finland, to Germany and even India, and earned Anzi his reputation as born frontman, in the elastic-limbed mould of Iggy. Upon launching his solo career, with 2011’s ‘High Clash Motherfucker’, he confidently stirred up metal, industrial, punk and glam influences, and proved himself to be an accomplished multi-instrumentalist and producer.
Since then, Anzi’s spirit of adventure and ambition has only grown. He wrote and recorded ‘Black Dog Bias’ on three continents, at locations in Helsinki, London, New York and Egypt, producing the record himself and playing most of the instruments, before mastering was entrusted to Los Angeles-based Dave Collins (QOTSA, Soundgarden, Linkin Park, Alice Cooper). The finishing touches were added by an eclectic array of collaborators, including Sisters of Mercy guitarist Ben Christo, African Djembe player Ike Chime, and, perhaps most intriguingly, Anzi’s ex-wife; Finnish author and former Playboy Playmate Katariina Souri, who co-wrote a number of the lyrics.
Unafraid to explore new places, sounds and skills, it’s plainly apparent why Anzi has chosen to preach about the dangers of fearing the unknown on ‘Black Dog Bias’. Sounding all the richer for his experiences on the way to making it, he uses the new album to fully amalgamate his wide-ranging sources of inspiration, into a dark, biting new breed of industrial punk that’s entirely his own.
Kicking the record off is the powerful pairing of ‘Revival’ and ‘I Let You Dive’, which are set to be released in their own right as a download-only double a-side single on May 26th. As both lead single and album openers, the tracks offer a compelling introduction to Anzi’s dynamic sound; fusing together elements of hard rock and electronica, in a surging assault of gritty, low-tuned guitars and massive, earth-shaking rhythms, which would be equally at home in the moshpit or on the dancefloor.
Elsewhere, the furious charge of ‘False Saint’ growls and pulses with the raw aggression and unhinged edge of prime Killing Joke or Nine Inch Nails, while ‘Big Enemy’ skillfully weaves a crunchy metal riff around atmospheric synths and a punchy hook, demonstrating that, as deftly as he delivers punky urgency and menacing ambience, Anzi can also dish out earworm hooks and solid rock grooves.
It’s left to closing track ‘Delusions’ to showcase the full extent of Anzi’s talent as a vocalist, and his skill for an imaginative arrangement. Slowing the pace and building from African drums and dreamy synths, ‘Black Dog Bias’s parting shot offers Anzi space to flex an incredibly rich vocal range, as the song swirls toward a soaring, string-infused climax. It’s an appropriately dramatic final act for a highly impressive sophomore release.
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