2008 Woodie Awards
ZOX experiments with new sound on Lines in the Sand
Kyle Thacker
Issue date: 3/26/08 Section: Entertainment
03/26/08 - Local bands that tread the waters of national exposure always hold a special place in the hearts of listeners who have watched the band progress and grow, leaving its humble beginnings behind to head into the bright lights of potential stardom.
So is the case with Providence-based ZOX. The group came together in 2002 at Brown University and began making a unique blend of reggae and rock, adding a twist with spastic violin playing from band member Spencer Swain. The Ivy Leaguers put out an excellent debut album, Take Me Home, which had songs featured all over, including MTV shows such as "Real World" and "Road Rules."
The band's third release, entitled Line in the Sand, shows ZOX's growth as a band and the varying influences of its members. It is the band's first official release through its new label, SideOne Dummy Records With a mix of energetically charged tunes and contemplative acoustic tracks, the album's sound is difficult to label.
The opening track, which lends its name to the album title, Line in the Sand, starts with a choppy guitar riff that is mimicked by an effect-laden violin. The result is a very 80s-tinged groove. The song changes once it reaches a refrain when singer/guitarist Eli Miller croons, "Everybody has a moment when they wake up/Everybody has a morning when they have enough."
When Miller sings the chorus, you can see countless victims of recent break-ups holding their heads high as they toss their tissues aside and sing along with ZOX.
Miller is still as fearful of and dejected by love as ever on this record. With titles such as "The Same (Doesn't feel the same)," "Don't Believe in Love" and "I Miss You," you sort of just feel bad for the guy and by the end of the album you want to buy him an ice cream cone or a hooker just to cheer him up.
Miller gets relieved of singing duties on few different songs on the album, with violinist Swain singing some tracks of his own, including the driving "Another Attack."
Swain's voice, which is strong and confident, is a nice balance to Miller's emotive sound.
The disparity between the two singers is displayed wonderfully on "Toward Los Angeles," when Miller sings the verse while Swain takes over vocals on the chorus.
The vocals on the album aren't the only thing setting Line in the Sand apart from its predecessors - ZOX's experimentation with sound is something that hadn't really been explored on the band's previous releases. Although not as ambitious as say, Animal Collective, ZOX's use of effects, synthesizer and violin are efficient.
The effects don't sound over-the-top and the songs aren't convoluted with unnecessary sounds.
ZOX's sound has continued to evolve and mature, this album is evidence of the band's maturation and its growing confidence in crafting songs. Line in the Sand is worth the money it costs - or at least the risk of illegally downloading it.
So is the case with Providence-based ZOX. The group came together in 2002 at Brown University and began making a unique blend of reggae and rock, adding a twist with spastic violin playing from band member Spencer Swain. The Ivy Leaguers put out an excellent debut album, Take Me Home, which had songs featured all over, including MTV shows such as "Real World" and "Road Rules."
The band's third release, entitled Line in the Sand, shows ZOX's growth as a band and the varying influences of its members. It is the band's first official release through its new label, SideOne Dummy Records With a mix of energetically charged tunes and contemplative acoustic tracks, the album's sound is difficult to label.
The opening track, which lends its name to the album title, Line in the Sand, starts with a choppy guitar riff that is mimicked by an effect-laden violin. The result is a very 80s-tinged groove. The song changes once it reaches a refrain when singer/guitarist Eli Miller croons, "Everybody has a moment when they wake up/Everybody has a morning when they have enough."
When Miller sings the chorus, you can see countless victims of recent break-ups holding their heads high as they toss their tissues aside and sing along with ZOX.
Miller is still as fearful of and dejected by love as ever on this record. With titles such as "The Same (Doesn't feel the same)," "Don't Believe in Love" and "I Miss You," you sort of just feel bad for the guy and by the end of the album you want to buy him an ice cream cone or a hooker just to cheer him up.
Miller gets relieved of singing duties on few different songs on the album, with violinist Swain singing some tracks of his own, including the driving "Another Attack."
Swain's voice, which is strong and confident, is a nice balance to Miller's emotive sound.
The disparity between the two singers is displayed wonderfully on "Toward Los Angeles," when Miller sings the verse while Swain takes over vocals on the chorus.
The vocals on the album aren't the only thing setting Line in the Sand apart from its predecessors - ZOX's experimentation with sound is something that hadn't really been explored on the band's previous releases. Although not as ambitious as say, Animal Collective, ZOX's use of effects, synthesizer and violin are efficient.
The effects don't sound over-the-top and the songs aren't convoluted with unnecessary sounds.
ZOX's sound has continued to evolve and mature, this album is evidence of the band's maturation and its growing confidence in crafting songs. Line in the Sand is worth the money it costs - or at least the risk of illegally downloading it.