“Beautiful ‘N Damned” by Zan/Cody marks the powerful reunion of the two core members behind the respected Swedish hard/sleaze rock band Shotgun Messiah. Instead of simply replicating their past, Zinny Zan and Harry Cody deliver a more modern, slightly darker vibe, fuelled by undeniable artistic chemistry.
Producer Chris Laney strikes the perfect balance here, giving the album a crisp, powerful, and organic mix that never feels clinical. Zinny Zan’s vocals return with his signature grit, sounding deeper and more mature, while Harry Cody’s stellar guitar work is as sharp—if not sharper—than ever.
“Sever” is an opener sets a moody tone with a slight gothic edge and heavy, stomping guitars. Zan delivers the lines with pure swagger, channelling a darker, meaner version of Joe Elliott.
“I Am the Shit” is an unapologetic, heavy-hitting anthem that completely owns its attitude. While the heavy reverb on the vocals might feel jarring at first, it clicks perfectly after a few listens.
“Ride or Die” is a fast-paced, high-attitude track that keeps the heavily reverberated vocals but cranks up the energy. It features a catchy, highly memorable hook and a down-and-dirty guitar solo.
“Suffer City” is a slow, heavy, and dark departure from a traditional acoustic ballad. This track feels like a painful yet proud cry born out of desperation, capped off by a stunning guitar solo.
“She Walks with Violence” is the weak link of the album. Built around a very basic guitar pattern and a semi-spoken vocal delivery, this track unfortunately falls flat and fails to leave an impression.
“Damn” makes for a massive return to form that grabs you by the throat with infectious energy. It features a high-octane rock vibe reminiscent of Michael Monroe’s solo material.
“Let’s Be Heroes” is a more mid-tempo, traditional rock track where the vocals sit slightly further back in the mix. It remains a solid listen thanks to a decent chorus and a good guitar lead.
“Beautiful and Damned”: The title track doubles down on the record’s gothic atmosphere, evoking the dark tone of The 69 Eyes. While the song itself is straightforward, it is elevated by a phenomenal solo.
“Bad Bad Man” is a refreshing stylistic shift that stands out in a great way. The track incorporates a distinct gospel, blues, and Americana flavor into the band’s rock foundation.
“Tear It All Down”… the album finishes on a high note by cranking the volume to eleven. It is a sleazy, high-energy closer that proves the duo can rock hard without relying on cheap nostalgia.
Overall, a fairly substantial and rewarding release that successfully modernizes the classic sleaze rock sound.
