Bromio by ZU (album) (1999)
On Progressive Rock World, ZU enjoy a very high consideration.
I consider them a pillar of the avant-garde, able to blend seemingly distant genres through complex structures and a unique and aggressive use of instrumentation. I have dedicated articles to them that you can find in the RIO-Avant-Prog and Extreme Prog Metal sections:
The review and focus on "Carboniferous" (2009), the band's masterpiece, an ESSENTIAL album, their masterpiece is one of the most influential records of the entire Italian and international experimental scene of the last decades, which enhances the trio's ability to deconstruct noise and prog-metal, a must listen for anyone who wants to explore the RIO-Avant-Prog genre in its heaviest key.
The Review and analysis of "Ferrum Sidereum" (2026), their monumental double studio album released in early 2026, a work of geometric complexity in the rhythms and with a characteristic distorted and percussive timbre of Luca Mai's baritone saxophone, the band's uncompromising and timeless "jazz-core" attitude.
ZU's music is never simple noise, but a refined and mathematical declination of the Rock in Opposition (RIO) genre and I include their records among the listening recommendations for those who love the most extreme evolutions of progressive rock, alongside international historical pillars of the genre.
In this sheet, before the album review, a more detailed biography of the band.
Zu, born in Rome in '97, are one of the most important and appreciated bands of the experimental, jazzcore and avant-garde scene worldwide. This Roman trio is known for its powerful and biting instrumental sound, which composer John Zorn has defined as an explosive blend between the strength of metal and the freedom of jazz. In almost thirty years of activity, they have churned out over 15 albums and played more than 2000 concerts around the world, collaborating with legends such as Mike Patton (Faith No More), Buzz Osborne (The Melvins) and Thurston Moore (Sonic Youth).
At the center of Zu there is an instrumental power-jazz trio formed by three Roman musicians:
Luca Mai (Baritone Saxophone): The melodic and aggressive heart of the group. His style transforms the baritone sax into a rhythmic and distorted weapon, like a heavy metal guitar, thanks to the innovative use of effects and amplifiers.
Massimo Pupillo (Bass): The engine of the band. His electric bass playing is characterized by insane distortions, low tunings and a rhythmic drive reminiscent of hardcore punk and noise rock. He is also super active in many parallel projects of radical improvisation.
Jacopo Battaglia (drums): The historic drummer, famous for his mathematical precision and the incredible power of his odd time signatures (math rock). He was part of the band from the beginning until 2011, and then returned to the official line-up in 2024 for the reissue of the first album, Bromio.
During the breaks or changes of Battaglia, internationally renowned drummers such as Gabe Serbian (The Locust) and Tomas Järmyr took turns behind the drums.
Rome, second half of the 90s. Three musicians meet and decide to create something unique. Before going on stage, they collaborated with the Fanny & Alexander theater company and the director Romeo Castellucci, composing and performing soundtracks. This theatrical experience leaves its mark, influencing their way of making music, which becomes theatrical and dramatic. The result? Their first album, "Bromio", in 1999.
Zu's sound is so particular that it does not go unnoticed. They began to play around Europe and America, releasing important albums such as "The Way of the Animal Powers" in 2005, recorded in Chicago with the legendary Steve Albini.
In 2009 comes "Carboniferous", published by Mike Patton's Ipecac Recordings. A heavy-noise album that received a lot of critical acclaim, with special participation from Patton and the Melvins. After years of touring, in 2011 Jacopo Battaglia left the band, which decided to take a break.
But in 2014, Mai and Pupillo did not give up and relaunched Zu. They explore new territories of sound, ambient, atmospheric, drones and psychedelia, as heard in 2017's "Jhator".
And now, in 2024, comes the great news: Zu reunites in the original line-up! With the return of Battaglia and the reissue of "Bromio", they celebrate a musical journey that began in the underground clubs of Rome and came to influence avant-garde music all over the world. What a story!
Zu is a truly unique and experimental band, a mix of extreme genres, a pillar of contemporary avant-garde music. They gave a good shake to the classic rock formation, eliminating guitar and voice and opting for a physical, powerful and mathematical approach to the instruments. Their reference genres start from Jazzcore / No Wave, the starting point of the group. Here the improvisation and expressive freedom of free jazz (inspired by giants such as John Zorn and Peter Brötzmann) blend with the energy and speed of hardcore punk. Then there's Math Rock/Noise, where compositions feature odd time signatures, complex metric joints, sudden stop-and-gos, and heavy use of distortion, feedback, and jarring sounds. In the second half of their career, Zu also embraced Avant-Prog / Drone, integrating dark atmospheres, hypnotic repetitions and sound dilations that approach ambient and avant-garde music.
The trio manages to create an incredible sound pressure thanks to the unconventional use of individual instruments:
Luca Mai transforms the Baritone Sax into a Metal Guitar, connecting it to effect pedals, distortions and amplifiers to generate heavy, abrasive and sharp riffs, instead of traditional melodies.
Massimo Pupillo uses extremely low tuning and saturated distortions for his bass, blending haunting, powerful rhythmic lines with a noisy approach driven by radical improvisation.
Jacopo Battaglia, on drums, acts as the geometric glue of the group, distinguishing himself for a millimetric precision in managing deconstructed, syncopated and hyper-fast rhythms.
Zu's sound has made a nice journey through time, going through very distinct phases. In the beginning, with "Bromio", their music was dry, frenetic and punk, with a strong dose of wild free jazz. Then, with "Carboniferous", they changed gears, veering towards a powerful avant-garde metal, sludge and impact noise, with dense sounds and a hyper-compressed production. In more recent albums, such as "Jhator" or "Cortar Todo", they have slowed down a bit, leaving room for darker, esoteric, ritual and electronic soundscapes. And finally, in 2024, they made a return to their roots with a historic reunion.
Bromio, their debut album, is the album that catapulted the band onto the international experimental scene. The title, "Bromio" (meaning "the thunderous"), is one of the historical epithets of Dionysus, the Greek god of mystical delirium, ecstasy and liberation of the senses. This name fits perfectly with the primitive nature and cathartic violence of their music.
In addition to the original trio, the band welcomed two exceptional musicians to create a very special horn and keyboard section. Roy Paci, known for his work in experimental jazz and European No Wave, joined them on trumpet for songs such as "Detonatore", "Zu Circus", "Asmodeo" and "La Grande Madre delle Bestie". In "Bromio", Paci joins Luca Mai's sax to create a dynamic and engaging horn section, and performs free jazz solos full of energy, especially in "Asmodeo". Roberto "Bobo" Gorelli, on the other hand, adds his magic touch to the Hammond organ in "La Grande Madre delle Bestie", the closing track of the album. His drones and spooky organ textures help create an epic and unforgettable finale.
Mine is the SSR137 version, released in 2024 for the 25th anniversary, and believe me, it's much more than just a reissue! The band pulled out the original '99 tapes and did a crazy job of re-amping and remixing with Lorenzo Stecconi. The result? They solved all the problems of the first CD edition, and now the record has all the power, grit and that "wall of sound" that made them legendary in live concerts. Oh, and speaking of tracks, the SSR137 vinyl version has an official tracklist of 10 songs, so no more "Paonazzi", the ghost track that appeared in some old digital editions and CDs.
"Detonatore" is a super energetic and mathematical Jazzcore piece. Jacopo Battaglia opens the album with a syncopated and precise rhythm like clockwork. Luca Mai's baritone sax and Roy Paci's trumpet come together in fast and aggressive unison lines. A real manifesto of Zu! Punk energy mixes with the complexity of prog.
"Xenitis" is an avant-garde Math rock track with a No Wave twist. Massimo Pupillo leads the track with a dark and swinging bass riff. Luca Mai responds with scratchy sounds and strident tears, while the drums create an asymmetrical and intriguing rhythm. An obsessive and edgy piece, but one that captures you immediately.
"Testa di Cane" is a slowed down noise rock, heavy proto-sludge piece. Battle ditches speed to focus on pure impact force. Mai's sax descends into an almost industrial register, while Pupillo's bass creates a powerful and constant carpet. One of the darkest songs on the album, but also one of the most interesting. It paved the way for the monolithic sounds that the band would explore ten years later in Carboniferous. Really powerful piece!
"Zu Circus" is a theatrical and eclectic Avant-prog piece, with a grotesque touch. The winds draw fun and almost band-like melodies that break down under the blows of a rhythm section full of energy. You can immediately feel the band's experience as a composer of soundtracks. It is an ironic and surprising song that breaks the tension of the record.
"Asmodeo" is a piece that blends radical free jazz with a hardcore punk structure. Roy Paci and Luca Mai challenge each other in an improvisational duel, while Pupillo and Battaglia keep the pace with an incessant sound chase. This track that closes Side A is an intense and cathartic sound experience. Stecconi's mixing is fundamental: he manages to keep the chaos of the winds well defined, allowing each instrument to stand out with clarity and precision.
"Canis Major" is a high-precision math rock piece, with a mechanical and precise pace. Jacopo Battaglia is the real protagonist, masterfully managing the continuous tempo changes and sudden stop-and-gos. The sax performs circular and hypnotic riffs. It is one of the most structurally solid songs and is very close to the instrumental post-hardcore of the late 90s. Listened to today it shows how far ahead this trio was, which already in 1999 anticipated the canons of modern math-metal.
"Epidurale" is a piece of surgical and unstructured noise. Massimo Pupillo experiments with extreme feedback and distortion on his bass, creating a close dialogue with Battaglia's metallic percussion. It is a short and abrasive track, almost an interlude of pure electric tension, which serves to reset the listener's ear before the final rush of the album.
"Villa Belmonte" is a piece of edgy post-punk mixed with noise-jazz. Luca Mai signs some of his most memorable and rhythmic sax lines, while the bass pulsates straight and energetic, recalling certain atmospheres of alternative Chicago. It is one of the most enthralling and "rock" songs of the entire album. It has an incredible pull and explodes with enveloping analog warmth.
"Erotomane" is a Noir-jazz song with a dark, slow and hypnotic flavor. The band slows down considerably, creating a sinuous and sinister atmosphere thanks to the winds that intertwine on a dilated drum tempo. The deep bass adds a touch of mystery, as if something imminent is about to happen. This song is fundamental to understand the future evolution of the band, in particular the mystical and drone atmospheres of Jhator.
"The Great Mother of the Beasts" is a noisy, esoteric and epic avant-garde song. The three musicians push themselves to the limit of their abilities, creating a unique sound experience. The song starts from a complex rhythmic structure and then flows into a monumental maelstrom of feedback and organ/noise drones. This is the worthy conclusion of Bromio, an avant-garde suite that defies any genre classification. A Dionysian, layered and mammoth listening experience.
This album is a very unique mix of jazzcore, math rock, noise and hardcore punk, all instrumental and voiceless, but with a crazy impact! The unusual sound combination, with Luca Mai's baritone saxophone who, instead of following the usual jazz patterns, unleashes distorted and abrasive riffs supported by a rhythm section that never gives up, has revolutionized the concept of avant-garde music in Italy. Excellent!
My Version
Label: Subsound Records (2) – SSR137
Format: Vinyl, LP, Album, Limited Edition, Reissue, Remastered, Stereo, Yellow/Black Swirl
Country: Italy
Release: 2024
Tracklist
A1 Detonatore 3:36
A2 Xenitis 3:11
A3 Testa Di Cane 3:06
A4 Zu Circus 3:42
A5 Asmodeo 4:06
B1 Cane Maggiore 3:24
B2 Epidurale 1:51
B3 Villa Belmonte 2:54
B4 Erotomane 4:25
B5 La Grande Madre Delle Bestie 5:43
LineUp
- Luca Tommaso Mai - sax
- Massimo Pupillo - bass
- Jacopo Battaglia - drums
With (uncredited):
- Roy Paci - trumpet
- Roberto "Bobo" Gorelli - Hammond
Listening link on the main streaming platforms at the following links:
Official and digital platform: You can play the songs in high definition and directly support the band by consulting the official Zu Bandcamp page or by visiting the label's space on the Subsound Records Bandcamp.
Note: All links to the musicians’ works are in the TAGS under the article title or on the "Artists"
