Local Review: Zigga — 1-800-GOD-PAIN

Zigga
1-800-GOD-PAIN
Self-Released
Street: 11.19.2025
Zigga = Kendrick Lamar + Sufjan Stevens

At 42 minutes in total, Zigga’s latest album 1-800-GOD-PAIN works (and it works really well) as an exploration of genre. There’s an immediately apparent depth to the vocals, instrumentals and production overall. 

1-800-GOD-PAIN starts fun, but then turns … really sad. Over the course of 14 tight songs, Zigga seamlessly transitions between 80s and 90s hip-hop to moody, folksy sounds. (I think you’ll be as surprised as I was at how good these are together.) One major theme tying it all together? Consistent, confident and emotional vocals that retain their quality throughout.

Opening with “Channel 6,” Zigga gives us a concept on a silver platter. We hear a scan button click as someone flips through grainy channels. Each song sampled has a distinct feel — an apt introduction for what’s to come. We’re warned of a masterful wedding between multiple starkly different genres. 

“Mr. Fix It” is one of my favorites. It’s a fun, summery alt-rock song that sounds a little like “SUCKAPUNCH” by James Mantis. It’s bright, and it moves. “Only For Me” reminds me of the electronic music I listened to in the 2010s. (This is actually a compliment, by the way.) “All That’s Left” also stands out. It’s a classic beat kept fresh by flawless execution. 

It’s obvious that Zigga loves synth, and he knows how to use it. Over the last decade or so, misuse of 80s pop synth has become rampant. Zigga — and I applaud him for this — is an exception. “Pink Bows,” for example, would be Stranger Things-esque if it didn’t stand so beautifully on its own. This track ebbs and flows, with Zigga’s vocals as a haunting instrument.

Zigga has always played with synth and vintage beats, going back to his debut album, Lake Bonneville. His older work is good, just not as polished as 1-800-GOD-PAIN feels. But Lake Bonneville is fun, because we get his 80s- and 90s-inspired R&B and alt rock sounds. In 1-800-GOD-PAIN, Zigga takes bits and pieces from his previous work. Playing to his many strengths, his most recent record feels as effortless as it is impressive.

Zigga explores everything from fun infatuation to existential dread and pain. “Pink Bows” is about betrayal. In “God Pain,” he contemplates his place in the universe. Even “Strobe Light Sunrise,” something of a club anthem, is about desire. (Zigga more than keeps up with the beat, reminding us in a big way how smooth his vocals are.) “Drips” is blatantly sensual. He explores regret — “I’m too high to notice the moments that were pure” — in “Getting Up” and even gives the toxic situationship its due in “If It Doesnt Work This Time” (stylized). 

The first real glimpse we get into Zigga’s softer sounds here is “Self Harm (Poete Maudit).” This song will give you goosebumps. After a wild ride through the previous track, it sets you down gently. Even as a stronger beat comes in, carrying one of the smoothest transitions I’ve heard in my life, it maintains the tenderness of the song’s beginning.

One of the album’s greatest strengths is Zigga’s no-fear policy on taking a beat. It’s a good sign when an artist can melt into their own music rather than sit on top of it. Zigga knows when to let instrumentals (and silence) sing. He doesn’t hit you over the head with anything. Instead, he focuses on distinctive vocals, echoing instrumentals and slow-building harmonies that reach a perfectly moderated conclusion. His flow is as bright as it is smooth. (“God Pain” is a perfect example.)

Closing things out, “Old Bones” could be from an entirely different album than “Limited Time Offer.” This combination would be weird if Zigga wasn’t so successful in maintaining his themes and transitions. Keeping the acoustic guitar out, he demonstrates yet again that he knows how to make confidently gentle music. The drums that come in give it a shoegazey, indie rock feel and a satisfying ending.

I listened to this album for the first time while watching April sleet fall outside. If you can’t recreate this exactly before you listen, I recommend dimming the lights, getting a little sad and being open-minded. Zigga builds almost-uncomfortable tension and digs deep in his lyrics. Classic beats done perfectly let his interpretations — and impressive vocals — shine. Thoughtful layers throughout make 1-800-GOD-PAIN notably exceptional. And Zigga really knows how to fade out. —Sarah Williams

Read more reviews of SLC’s local music:
Bruce Lee and the Streetfighters — Pretty Lies
Local Review: Sutures — Around My Neck