Brand new album from Zach Tabori

Zach Tabori is no ordinary genre-bending artist, he’s a full-blown sonic agitator with a taste for the absurd, the profound and the technically dazzling. Ever since picking up a guitar at age 11 and diving headfirst into the vast world of musical idioms via YouTube and online music tabs, Zach has been working against the grain. Equal parts prog disciple, orchestral dreamer and pop prankster, his solo work distils the kind of inventiveness that can only come from an artist completely uninterested in mimicking what’s come before.

After releasing his debut single “28” back in 2018, followed swiftly by sophomore outing “Anyone” and his first EP 14 Minutes or Less, Zach has refused to creatively sit still. From drawing on the prog flourishes of his two 2022 albums Hard Boiled and Soft Boiled to jumping into the orchestral chaos of 2023’s guitar-less record Rotten, his output feels like a challenge to the idea that artists should stay in one lane. He’s just as comfortable co-writing for pop names like Téo and Jaden Smith as he is touring as vocalist and multi-instrumentalist in Dweezil Zappa’s band, where his penchant for complexity and wit finds an ideal home.

Tabori’s latest release comes with his brand new full-length album titled Attack of the Clout Chasers, a tour-de-force of genre alchemy, cultural critique and no-holds-barred musical theatre. Framed as a “prog-infused collision of existential crisis, apocalyptic satire, and scorched earth politics,” the album completely discards the rule book to deliver another thrilling slice of Zach Tabori weird and wonderful sonic vision.

Kicking off the release with a stripped back, acoustic blues style piece called “Rotten, Pt. 2,” the album erupts with the raucous rock energy of “Nann Ray” where crashing drums, charing guitars and belted vocals collide in a gripping punk-infused outing. With slick rhythmic switch ups and abrupt sonic shifts, it’s a spectacular display of Zach Tabori’s astonishing creativity, brought to life via superb performance panache.

“…In A Thin White Shirt” follows with blistering rock alternative punk rock pace, laying down a biting outing that unpacks the fragile masculinity of a post-modern man with 70s art-rock humour. Other highlights on the release include songs like “Jazz To Showcase Our Musicianship,” marking an elegant departure, offering a breezy instrumental jazz jam tinged with a humorous wink nodded to its context in the title.

After the graceful interlude, the album bursts back into flames with “JFK,” which crashes like a Molotov cocktail aimed at the whitewashed mythos of American legacy, specifically Joseph Kennedy’s quietly disturbing political affiliations. “Vanité ou la Mort” presents another example of the sonic range on the album, flowing from the grooving patter and lively vocalisations into an extraordinary prog-focused musical voyage that stretches out for almost sixteen minutes.

The finale, “End Of The Fucking World” casts an enchanting last moment of dazzling strings, soft guitar tones and airy vocal leads. Accompanied by a balletic music video choreographed by Stephanie Gotch and Gabe Stone Shayer and starring elite dancers from the American Ballet Theatre and New York City Ballet, the track transforms into a multimedia requiem, turning existential dread into fine art.