The next chapter of influential pop artist Zenizen, aka Opal Hoyt; press photo courtesy of the artist.

2022 is the year of Zenizen. The vision of NYC-based artist Opal Hoyt, the new album P.O.C. (Proof of Concept) is not only one of the year's most anticipated releases but a work of staggering genius that fans have awaited since the acclaimed debut Australia. The performer, producer, media boss, multi-hyphenate is your favorite's artist's favorite artist who has worked with everyone from Helado Negro, Suzi Analogue, Sadie Dupuis (Speedy Ortiz, Sad13) and countless more, readying her biggest creative statement to date. Opal’s new album is the most ambitious Zenizen outing yet that draws inspiration from her own life events from being adopted, living in Alaska, making moves to Australia, Las Vegas, Jamaica, DC, Vermont and so forth with New York serving as a home base (one of many). A creative polymath celebrated in the independent circuits and insider circles delivers their most sprawling and spectacular work with a style, attitude and ambition destined for the biggest and brightest lit main stages.

P.O.C. is a living artful song cycle that Opal has arguably been working on her whole life. The record is the Dao of Zenizen. A canonical chapter in the history of notable pop music movements. In pop theological terms, it could be regarded as the book of Zenizen. A vast creative piece that has it all, origin stories, homecomings, pivotal moments and movements of inspiration and formidable influence abound in a full-length fashioned as progressive r&b futurism (that leans toward those styles and vibes that have yet to be defined). Enlisting the esteemed talents of Jonathan Maron (renowned bassist for Erykah Badu, D’Angelo), percussionist Vishal Nayak (known for work with Empress Of, Nick Hakim), Prince's brass conductor Sly5thAve (Sylvester Uzoma Onyejiaka II), mixed by IGBO guitarist Benamin, Nick Herrera (Hiatus Kaiyote), Jon Bap, mastered by Heba Kadry and Davy Levitan ⁠— Opal Hoyt's vision blends histories, travels and treatises that soars stylistically through the dimensions of time and space.

"Intro" begins P.O.C. like an assemblage of field recordings, drum & bass abstractions over narrations designed to sound like the very genesis of Zenizen. From birth to the start of a journey of self-discovery and exploration of identity, "Coming Home" is a mind lifting quest to follow the compass toward places of abode, peace and a sense of family and solidarity. "Aja" draws its title from Opal’s collaboration with Aja Grant where rhythms, bass and synths punctuate and populate the track with kinetic and vibrant rhythms the recalls deep cut production from Sa-Ra Creative Partners and associates. The jubilant "Come Around" blends the splendor of the natural realm merged with concrete metropolitan humankind creations, in praise of the potential and light that a day brings to our shared planet. Modes of motion, migrations and discernment comprise "Get Out" that focuses the lens on the needs to change; changes of the self, changes of scenery and more with that trademark Zenizen production that immerses the audiences into experimental and consciousness expanding atmospheres.

"Es Is (Protocol)" moves in calming motions in a track about navigating life's shifts, right before "Berth" mixes up vintage rhythms & blues with a contemporary sense of suave that meditates on the modes, maintenance and manifestations of dreams. Switching the dial toward a new disco driven vernacular, "Berth" traverses through the inner headspaces that starts out like an early 70s Barry White production and then makes a break for the outer dimensions of the stratosphere. "How Hard" carries that classic ballroom beat forward in a track that pushes toward a place of balance that catapults into the cosmos, as "Break" accompanied by vocals from Blvck Spvde strives for a higher sense of communication and elevated plane of conversation. The single "I Would (...but you want me down)" courses through conflicts of desire and needs that clashes with perspectives of direction, further elaborated in expressive bars by Nappy Nina that delves into the inherent intricacies of interpersonal dynamics.

Collaborator Helado Negro returns on the mesmerizing "Drought" that rocks some warm Rhodes tones with a vibe that feels both submerged beneath the oceans and wandering in an arid desert (all at the same time). Closing with the question of "Is It?", Opal and her ensemble bring about a big and enthusiastic energy that feels like anything and everything is possible. P.O.C. (Proof of Concept) is a story and celebration of life, all that it is and all that it can be. It is Opal's privy view into the creative universe of Zenizen, creating a canvas of talents that entertains the concept of a better, brighter and more inclusive and expansive world of infinite excitement and innovative opportunities.

And now without further ado…

Opal Hoyt presents the book of Zenizen

The world according to Zenizen’s Opal Hoyt; press photo courtesy of the artist.

The Pointer Sisters

The Pointer Sisters are chameleons. Point blank. I had the Black & White album when I was a kid and wore that thing out but when I started to get deeper into their discography I was just blown away by how much they 'genre' hopped. The Live at the Opera House record is iconic. That's not to say that the songs on my record are all different genres but this concept that they just made whatever moved them at the time is just so much more distinct than any other artists that I know about.

It’s so hard to pick individual references because the point is that they just switch references all the time but this is a fave hit:

Fantasia

I know that I've said before that my album is based on a Peter & The Wolf concept but I think it's really actually giving Fantasia. I suppose its a bit of both ⁠— the Rhodes is absolutely me the whole way through. Ben on guitars is always Ben...it's similar. The point is it's a bit of a soundtrack with some individual vignettes/characters and I hope that comes across. Both also have a distinct nature theme and that is definitely overwhelmingly present for the record. Also so hard to pick an individual scene here since the point was really more about the overall effect and also Fantasia is more than casually racist honestly. I think the point is that there’s this intentional direct storytelling aspect. Maybe I should release the scenes behind the songs, but for now I’m interested to see what people pull out on their own. There is an overview of Peter and the Wolf here if anyone hasn’t heard it:

My job

Media impresario Opal Hoyt; press photo courtesy of the artist.

I'm one of those dual lifers who has music life/work life. My career side of things has pretty much always been in media technology and generally in new products/features. I run through a ton of proofs of concept with the teams I work with to see what's possible, see what's sustainable, what we have the capacity for, etc. I liked the double meaning since this whole album was really an exploration for me regarding recording styles, production, etc.

My adoption

The future styles of Zenizen’s Opal Hoyt; press photo courtesy of the artist.

The original intention was for this to have a much bigger role in the inspiration for this record actually. I think it ended up relating more to the idea of my entire life being a POC ⁠— what happens if you raise a black child in a white place, a mixed place, a very black place? I have a lot fewer thoughts about adoption in general but if anyone is looking for transracial adoption resources I'm happy to share. This scene from Sister Act of like, two worlds colliding is probably so gauche at this point but in general there’s just this whole 90s genre of like blacks in a white world, whites in a black world and while I don’t love the literal impression “Just a Touch of Love” is that like comically jamming and I think I did have a little bit of a parody of that in mind especially for “Berth” and “How Hard”.

My life overall

In addition to my being adopted, I think the trajectory of my life has been pretty...unusual. Personally and professionally. So again there's no real references in the songs to any specific life events but I like to think that each track on the record corresponds not only to a season but to a kind of generic life change⁠—birth, a first-time move, a party where you met someone who changed your life, a crisis⁠—we all have our own mix and match.

Zenizen’s P.O.C. (Proof of Concept) will be available July 27 via Topshelf Records.

The book of Zenizen