Photo by Apostolos Zanias

First known as the front woman of acclaimed London-based synth duo LINEA ASPERA, Australian-born Alison Lewis relocated to Berlin and launched her solo project ZANIAS in 2016.

Lewis has been particularly prolific in recent years as ZANIAS, as well as reuniting with Ryan Ambridge in LINEA ASPERA and running Fleisch Records. 2023’s ‘Chrysalis’ as the album title suggested was something of a rebirth while the glossolalia swathed ‘Ecdysis’ a year later saw the musical shedding of an outer cuticular layer into a new self.

While delivering a potent political message with assertive fervour and playful sincerity, the new ZANIAS album ‘Cataclysm’ fuses a variety of genres in pursuit of pure artistry but with a sense of light after the heavier if ethereal moods of its predecessors. Written and produced by Alison Lewis, on board shaping the final mix is Trey Frye of American darkwave duo KORINE.

The determined premise is a refusal to give in to despair despite civilisation and the ecosystem on the brink of total collapse. In that respect, the fight instead of flight kicks in and for ‘Cataclysm’, Alison Lewis adopts a striking sword wielding oceanic warrior persona reminiscent of fellow independent female artist CZARINA.

The opening ‘Cataclysm’ title track captures anxious upheaval in the battle for survival but the tempo changes in almost an instant with ‘Naiad’ where the incessant rhythms punch and shuffle in honour of water nymphs in Greek mythology. The hymn-like ‘Whiteout’ takes the mood down to something almost spiritual. But utilising the science fiction horror novel ‘Annihilation’ by Jeff VanderMeer in the verses of ‘Ghostbird’, pointy rave stabs compliment the unusual abstract backdrop with an array of voices in the headspace.

The breezy acoustic strum of ‘Ashes’ throws off the scent, but the cultured cacophony of icy atmospheres and absorbent beats return on the rapturous ‘Dawn’ while the multi-rhythmic spectre of ‘The Spire’ is reverberant with cutting bass and sharp arpeggios. Offset by deep drones, snappy drum ‘n’ bass rhythms propel the frantic pace of ‘Serpentsmile’ to 190 BPM.

Photo by Apostolos Zanias

The thumping ‘Human’ goes full on melancholic techno and is maybe the most accessible ZANIAS statement yet, reflecting on life and the universe. To finish, the “Gatecrasher meets Berghain” exhilaration of ‘Happy Endings’, while sombre in tone, offers the title not as irony but as a hopeful possibility in the face of adversity!

With her known deep attachment to humanity and the environment, Alison Lewis has her very own signature within her post-industrial ethereal wave. After the storm comes fresher air and put simply, ‘Cataclysm’ is the best ZANIAS album to date.

‘Cataclysm’ is released by Fleisch Records on 23rd October 2025, available in various formats via https://zanias.bandcamp.com/

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Text by Chi Ming Lai
18th October 2025