Zedd, “Telos”

Telos is almost entirely collaborative with Zedd featuring eight different artists on nine out of its 10 tracks. Producer and DJ Anton Zaslavski pulled in the likes of John Mayer, Brit rockers Muse and Remi Wolf, all of whom brought their own sound to Zedd’s third album (his first in nine years).

Zedd highlights the carefree nature of his own music while also showing off musically interesting compositions, mixed with his bass-heavy, glitch-filled production. Additionally, the guests help reveal his own musical taste on this album, the name of which translates from Greek as “ultimate goal.”

The pressing tone of Bea Miller’s voice adds to the urgency of the driving arrangement on opening track “Out of Time.” An unexpected handoff from piano to a stretched-out synth chord captures the nature of this song: unexpected. The imaginative lyrics and its captivating climbing and falling melodies set the stage for the rest of the album. 

Bea Miller ties the first two tracks of Telos together. On “Tangerine Rays,” her voice picks back up alongside a grooving piano progression that strikes some emotional chords. This leads into a funk-filled chorus, of course featuring bass with a fat, winding tone and a smashing synth melody. “Tangerine Rays” blends pop and EDM with its dramatic-sounding strings and heavy and light dynamics.

Telos makes a bold turn with “Shanti.” Zedd blends long bow draws on the strings into chanting over guitar shredding. This complements the unsettling vocals well. The heavy beat again trades off with light Southeast Asian-sounding strings and background chanting. It uses clever vocal riffs and interesting sounds to keep listeners locked in.

On “No Gravity,” a laidback beat, gentle chords and Bava’s warm, whispering voice create repose. After a song like “Shanti,” it’s a relaxing descent and respite before the return of energy with “Sona.” The song features Irish folk group the olllam, which brings a rocking flute-led melody. Zedd joins in with buzzing synth chords, rising bells and a building beat. It sounds like an epic end credit song for an ’80s video game.

Remi Wolf guests on energetic electro-pop tune “Lucky.”  The singer-songwriter’s voice adds a captivating hook alongside Zedd’s sloshy-sounding glitch beat. Five years after Wolf originally wrote this song, Zedd convinced her to get back in the studio to finish it. It was sound advice.

An eerie guitar and keys melody sets the tone for a reworking of the late Jeff Buckley’s 994 classic “Dream Brother.” The four-on-the-floor drumming and oppressive, rolling bass line add to this uneasy feeling, but it sounds so cool put together, keeping the original’s creepiness and translating it to an electronic medium.

The song settles into a piano solo that seamlessly leads into “Descensus,” with Dora Jar. Dora Jarkowski’s delivery is filled with emotion, which makes the stakes of what she’s singing immediately felt. The vocals are contrasted with a chaotic beat that comes filled with saw synths, strings and vocal riffs.

Zedd accompanies John Mayer’s signature blues guitar strains with a crunchy bass line and funky keys melody on “Automatic Yes,” is a feel-good turn after a couple darker, emotionally impactful songs.

Muse then joins in on album closer “1685,” on which Matt Bellamy, a noted classical music fan, calls out Franz Schubert’s “Ave Maria” set to an ominous lullaby melody that slowly builds upward. Telos is a journey that starts in one place and leads listeners somewhere different.