Zao's sixth studio album spans a career that has seen the band undertake a whole host of personnel changes far too numerous to detail, but which have left an imprint on each of their albums in what has become a most impressive back catalogue. Pleasingly then, Parade Of Chaos demonstrates many of the traits of earlier work yet with a continuation of the ethic that the last album, 'Self Titled' demonstrated. That is experimentation and the pushing of boundaries in a metalcore genre that can't possibly contain them.

Parade of Chaos begins swiftly with 'The Buzzing' which steams ahead relentlessly like a runaway train, predictable yes, but strangely engaging as you are drawn into it like a deer in headlights. Immediately it is apparent that the band have departed somewhat from the last album which was far more abstract and subtle unlike this straight forward affair. Some fans raised their eyebrows at the bands use of electronica on the last outing but it is still very much present this time around with a nightmarish digital sounding sequence rounding off the hypnotic and menacing 'Suspend Suspension'. Dan as always cuts the air with his throat charring screams as chaos ensues around him in muddied tones in contrast to the clinical production that featured so prominently on the last album. Indeed Dan's vocals are as strong and confident as ever with a style that he has made his own over the years. If anything he should be commended for giving music critics the opportunity to use the word serpent-esque when searching for appropriate metaphors in describing his rather harsh vocals.

'Angel Without Wings' is perhaps the biggest departure this album offers which although repetitive shows off Dan's rather fine singing voice and charters new territory for a band now seemingly competent in making accessible rock music with popular style vocals that are both catchy and memorable. Think Rolling Stones attempting to play hardcore and your half way close. 'A Pirate's Prayer' brings us back to traditional territory with a song that defines the albums no frills mentality as they create another straight forward riff which during the breakdown will induce even the stiffest of limbs into fits of motion. Finally 'Man In The Womb' sees drummer and only remaining founding member Jesse take up vocal duties with his own slurred drawn out style backed by music which is as much psychedelic as it is mellow whilst the startling instrumental 'Ballad of Buddy Bigsby' is made up entirely of samples and gives the impression that Radiohead had a hand in the making of it.

Just as the last album did, this effort will see the band gain new levels of credibility at the expense of a few fans who were perhaps hanging on to the days when Zao were technically an another band entirely, be it the doom era or when death metal was more prevelant. Most however will feel that the band have achieved a happy medium that incorporates the best the band have to offer. However if we are to believe the rumors that this album is to be the bands last it is by no means the parting gesture that you would hope for, being slightly let down by its overly structured format and occasional sloppiness. Zao however remain the premeier metalcore band for creating passionate and creative music continuing to both challenge themesleves and the listener.