Zaxas: Zaxas |

Making Metal In The ’90s

(1995 – Noise)

Every now and then, it’s nice to rediscover these gems lost to time and rescue them from obscurity and oblivion. It’s possible that the album in question went unnoticed by most listeners. And no wonder. Not only was Zaxas an underground band, but their debut album may not have received the attention or promotion it deserved. It’s also possible that Zaxas’s short-lived existence as a band contributed to this album not only going out of print but also remaining in the shadows.
In fact, one could say that Zaxas is a somewhat obscure band about which little is known. The only thing is that they had a classic four-member lineup: A.C. on bass, Mikki Christian Suvia on guitar, Riko Veale on drums, and finally Dale Anthony on guitars and vocals, and the United States is the group’s country of origin, although their beginnings have more to do with Japan than with the populous North American country.

Let me explain: Zaxas formed in Japan while its members were serving with the U.S. Marines in that country, though beyond that unusual origin, the band was based primarily in San Diego, California. After releasing two demos in 1989 and 1992, along with an EP in 1991, Zaxas had the opportunity to record a full-length LP in 1995. The result is this album simply titled Zaxas, which contains 10 high-quality tracks that are sufficiently diverse.
Zaxas’s sound lies in a somewhat confusing blend of Heavy/Thrash, within what was known in those years as U.S. Power Metal (nothing to do with the European genre), showing traces of their influences ranging from traditional Heavy Metal—with some elements of Iron Maiden, for example—to a distinctive vocal tone at times comparable to Ronnie James Dio, characterized primarily by short, direct tracks with no frills.
The first track is a clear example. “The Anvil” follows the path of traditional metal, setting the pace with a fierce riff, at a moderate tempo and with plenty of heavy pounding. The sound is dominated by the guitars, aggressive and front and center as they should be.
“Images Of Princess” showcases Zaxas’s more progressive, melodic, and even classic side, with chord progressions that undoubtedly bring the band closer to the greats of metal. Meanwhile, “Mr. Primetime” returns to the riffs that set the pace, very much in the style of Dio, with a penchant for dry, cutting chords, without neglecting the metal edge the band displays throughout.

A haunting riff paired with a chord progression kicks off “Lies In The Balance,” which is essentially built around that riff. “Revolving Door” sounds intriguing. It’s the track that, without straying from Zaxas’s signature sound, takes us down a promising path, featuring compelling choruses and a short, direct double-neck guitar solo—much like everything Zaxas achieves on this album.
Don’t be fooled by its opening; “In The Beginning” isn’t what it seems. It’s another high-caliber track, where vocalist Dale Anthony showcases much of his vocal range. “Soul Survivor” has that Heavy Thrash vibe we love, with heavy riffs and chords that take us through the album’s best moments.
“White Room Life” could be the outlier in an album that showcases different facets in every song, but in this case, it brings us a track that’s pure energy and melody, with a compositional approach that perhaps strays a bit from the norm, but which showcases the best side of Zaxas. Yet that’s not all, because “Last Chance Believer” has its own charm, especially those catchy choruses and a rhythm section that’s as simple as it is fierce.
The finale is every bit as worthy as the rest of the album. “Ashes To Ashes” offers a blend of restrained speed with a combative drive that provides a fitting conclusion to a work that, had it not emerged during the complex 1990s, might have been received differently.
The thing is, Zaxas’s sound is merely an echo of the ’80s, but by the mid-’90s, this was seen as nothing more than something old and outdated. Grunge and alternative music were running rampant, and Zaxas’s approach wasn’t exactly surprising, even though the entire album and the songs included were modern enough to adapt to the rhythm of a decade that was heading in a different direction, musically speaking.

Zaxas manages to craft songs that are short, direct, to the point, and without taking too many risks on long, tedious arrangements. It’s simple—no more, no less. This in no way undermines the spirit of their sound, which, as we mentioned, centers on what was once called “US Power Metal,” with plenty of traditional Metal elements.
It must be acknowledged that this first album by Zaxas is very good. It has no weak spots whatsoever, and each track brings something unique to the table. Surely, for someone who prefers traditional metal, this material won’t be unfamiliar, and eventually, they’ll want to check it out. Plus, it’s a great way to see how those who didn’t turn their backs on heavy metal in the ’90s managed—and how, despite the changing times, they stuck to the traditional sound.
That came with its risks, and Zaxas may have paid the price. The band didn’t release a second album until as late as 2015, when there was a tentative comeback with the album “Returns The Machine,” but that’s another story. The truth is, we don’t know what happened in the meantime—why 20 years went by without them releasing or publishing anything—but the fact is that, in 1995, this album likely didn’t receive enough exposure or promotional support to become anything more than an emerging band.
It was a bold move, but for some curious reason, it doesn’t seem to have worked out, at least commercially. The album was even recorded and mixed at Rumbo Recorders in Los Angeles in 1994 (the same studio where Guns N’ Roses’ “Appetite for Destruction,” Megadeth’s “Rust in Peace,” and Dio’s “Sacred Heart,” among others, were recorded), which clearly speaks to what was at stake. The sound is dry, sharp, not overly polished in what could be seen as sonic ostentation, but rather focused on the spirit of each song. The mix, in that sense, leaned heavily on the guitar sound, giving a somewhat limited feel to the roar of the six strings. The percussion hits are rather timid, if I may use that term. Overall, the result gives the impression of a work heavily focused on the raw aspects of Zaxas’s sound without delving too deeply. It’s impossible not to connect this to what the ’90s were all about.
The cover art is strange, no doubt about it. A character with a rather odd face emerging from the sea, holding a sort of epitaph. Who knows. There’s no official interpretation, and it lends itself to many interpretations, but I like that. And in fact, the illustration is something totally different, and in a way, it leans toward a more introspective aesthetic, very typical of those years.
The interior doesn’t stand out much. The song lyrics are presented in a black-and-white design. That, plus the technical details, and a single photograph of Zaxas on the back cover, is all the album has to offer.

Although, according to statements by the band itself, Zaxas never considered themselves a “Christian” band, but rather a heavy metal band made up of Christians, they never really made much of a splash, neither in the metal scene nor, even less so, in the “White Metal” scene.
Naturally, Zaxas’s first album has been completely out of print for several years and was never released on vinyl. It was only released on CD, and the version we have is an original copy made and distributed in Germany. Is anyone thinking about a reissue and remastering? It would be a good time, if someone comes up with that brilliant idea. Zaxas is a cult album, perhaps a bit forgotten over time (not by us, of course), and lost in the fog of the ’90s. It deserves a proper reissue, especially to rediscover a band that, without inventing anything new, kept the flame of Heavy Metal alive, even in the decade that nearly destroyed everything good from the ’80s….
There isn’t—or at least we haven’t found—an official music video for any track from this album, but at least we’re leaving you with what we consider one of the best songs from it, so you can get to know the band and, especially, this album, lost in the mists of time and which we set out to rescue….

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