The word came from a colourful kid’s toy. Sharkie’s programme, the "Zany Zolo Muzik Hour" featured songs from the sixties, seventies and eighties which he felt shared similar aesthetics and approaches to music. The debut show featured Godley and Creme, the Residents, XTC, Stump, Split Enz, Pere Ubu, Gentle Giant, and Bill Nelson. Other bands that have released Zolo music are: the B-52’s, Devo, Talking Heads, and Frank Zappa....
Picture eccentric zany behaviour with clothing that is pastel, neon, or checkerboard black and white, topped with outlandish hairdos. The music features lopsided rhythms, synthesized bleeps and boings, “polka-dot percussion”, fantasia, autonomy, falsetto, wacky imagery, frolic and whimsy, and a bold attitude. One writer calls it an “untapped realm of musical capriccioso”. Another describes Zolo as “a treasure trove of cosmic musical discovery” with “bands as boldly bizarre as they are elusively obscure”.
Sharkie asserts that Zolo contains elements of both Progressive Rock and New Wave, but Zolo is a “creative thread” that runs both independent of, and most importantly, between, both of the genres. He insists that Zolo is the “latest manifestation” along a theatrical, art rock, and cabaret genealogy of the last century. Its timelessness is a part of its aesthetic, it is connected to no particular time period, instead, it is the “music of a future era”.
In the 23rd century, all music will be Zolo music.
Pic related: Split Enz, 1976, zolo as fuck