When Mark Zonder talks about A-Z, his band with Ray Alder and a revamped lineup, it’s not with the guarded caution of someone promoting a side project — it’s with the unwavering resolve of a man building something permanent. “It was never a project,” he states. “It was never a one-off.”
Zonder explains in this new interview with Sonic Perspectives‘ Rodrigo Altaf that A-Z is a real band with long-term vision, deep creative chemistry, and a growing catalog of powerful, song-driven material. With their sophomore album just released, Zonder dives into what sets the group apart, from its collaborative nature to the mutual respect that fuels its artistic choices.
“There were changes made, and they obviously were great decisions,” he says. “It worked out extremely well, and I’m very happy.” Following the positive reception of the debut, Zonder knew he needed the right people beside him to evolve the project: Nick Van Dyk, Jimmy Waldo, and longtime collaborator Simone Mularoni, among others. “I needed to surround myself with guys that I could trust, that I love, that I know are mature professionals.”
It’s a sentiment that becomes a recurring motif. Despite the industry’s love of the terms “supergroup” and “project,” Zonder’s vision has always been band-first. “I’ve always been a band guy. You know, I’m not Sting. I can’t go out on my own.”
The second A-Z album, while carrying over the melodic flair and tight songwriting of the first, takes things up a notch in terms of both energy and production value. “It’s a great natural progression,” Zonder explains. “We’re going in a little bit of a heavier direction, a bit more edge to it… Jimmy with the Hammond and that sound… just takes it to another level.”
That maturity also extends to their visual identity. From a zebra on the first album to an alligator on the second, Zonder teases fans with visual cues — A to Z in subtle form. “It’s not an animal thing… the third one’s not going to be an animal. I can almost guarantee there’s no teeth on the next one.”
One thing that hasn’t changed is Zonder’s marketing acumen. “From the very, very, very beginning when I started this whole thing… it was a beer commercial, car commercial, and Cobra Kai. Chorus, hook, hook.” That laser focus on accessibility led to standout singles like “Nothing is Over” and “The Remedy,” both of which showcase big, memorable choruses and a tight runtime, deliberately avoiding the overindulgence common in prog rock.
“There are a few that could’ve been the first single… but in my heart, I just feel that ‘Now I Walk Away’ is the one that really turns the page. That’s the ‘Silent Lucidity’ for this album,” he says. “It’s just not an uptempo rock tune… It’s a power ballad. A 2025 power ballad.”
One of the unsung strengths of the album is its blend of classic rock sensibilities and modern production. While Simone Mularoni adds tasteful shred (“I’m not a shred guy,” Zonder admits), Nick Van Dyk contributes to the heavier rhythmic backbone. “You write the songs in a kind of pop way… four to five minutes. None of this nine-minute whatever.”
Jimmy Waldo’s keyboards add a vintage edge, bringing to mind Deep Purple and John Lord. The end result is a sound that straddles genres and demographics. “We’re one of the few bands, if not the only band on Metal Blade, that can go in more of a mainstream area… We could play with Journey, we could play with Foreigner, we could play with Whitesnake.”
On the topic of drumming, Zonder is as thoughtful as ever. Known for his work in Fates Warning and his integration of electronic pads, he still seeks balance between expression and function. “I always looked at it as I can express myself sonically… I can have different sounds because I hear things in my head.” But at the end of the day, “You play for the band. You play for the song.”
This philosophy also explains his selective approach to collaborations. When asked about whether he was ever invited to join Dream Theater, Zonder replies candidly: “Even if it was offered to me, I wouldn’t have taken it. I kind of have to love what I’m doing.”
Rounding out the chat is a look back at Zonder’s work with legendary producer Terry Brown during the Fates Warning era, including albums like Parallels and A Pleasant Shade of Grey. With A-Z², it’s clear that Zonder is not only building on a legacy but actively redefining it. His conversation with Rodrigo offers insight into a musician who’s constantly evolving while staying rooted in the timeless power of a great song.
In a world saturated with overlong concept albums and fleeting projects, Mark Zonder is building something deceptively simple but enduring: a proper band with big choruses, undeniable hooks, and enough musicality to engage prog diehards without alienating the casual listener. “This has got to be big,” he says — and he’s making sure of it.
Check out Rodrigo and Zonder‘s conversation below, and remember that for more interviews and other daily content, follow us on Facebook and Flipboard, or subscribe to our YouTube channel to be notified about new content we publish daily.
