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The one thing that will always be Green Carnation's calling card is their songwriting. The Nordic giants of Gothic Progressive Metal blew me away with Light of Day, Day of Darkness over twenty years ago and I was pleasantly surprised when they returned in 2020 with Leaves of Yesteryear. Progressive songwriting has always struggled when it came to towing the line of being overtly technical for its own sake, and writing tighter, more concise tunes to be more easily digestible. Green Carnation are the band that prove to me that you don't have to pick one or the other.

When I saw that The Shore of Melancholia was a multi-part release from the band, I became very excited. I was even more excited when I saw the track listing to part 1 or A Dark Poem and saw shorter runtimes. And that excitement came to a climax when the final notes of "Too Close to the Flame" reverberated out as that final reminder that my expectations had been met and then some! I love how this album starts with "As Silence Took You" and "In Your Paradise"; clearly harkening back to a gothic doom style of My Dying Bride, with the vocals from Kjetil Nordhus feeling like an absolute gut punch. I really enjoyed the pacing for the first half of the record, feeling progressive at times, but not overwhelming to the listener with endless solo breaks and uncommon time signature technicality.

"The Slave That You Are" will take some getting used to. Starting off with blast beat percussion, open guitar chords and Enslaved's Grutle Kjellso providing guest vocals, the stylistic flip is jarring to put it lightly. However, the first three tracks on the record are not just status quo gothic doom metal; there is something brewing underneath the surface and when it explodes on "The Slave That You Are" it feels so good! The title track, "The Shores of Melancholia" comes up next and even though the intensity has been pulled back, it still does not sound like the first handful of songs. The final track, "Too Close to the Flame" is the closest thing to a modern progressive power metal song. The instrumental sounds phenomenal even if the mixing does feel a little too overwhelming in the final minutes. Even then, the buildup to that finale is sweet and leaves the record feeling like a near perfect story with a buildup, climax and resolution. 

The way in which Green Carnation continues to impress this many years after their magnum opus is remarkable and the way they continue to develop their sound throughout the years remains one of progressive music's most surprising mysteries, in a genre where the main faces would rather repeat the same mistakes of their contemporaries.

Best Songs: As Silence Took You, Me, My Enemy, The Slave That You Are, The Shore of Melancholia

Poets and Madmen is Savatage’s swansong and in my opinion, their most underrated work. Jon Oliva returns for sole vocal duties on this album, and I personally am thrilled. As great as Zak is, Jon is simply my preference due to his much rawer, aggressive yet passionate delivery. The album is still a concept album in line with their recent works, but a bit looser and less… pompous, let’s say. It sounds like a good old fashioned Heavy Metal record.

The compositions here are undoubtedly among the best of the band’s career. There are riffs for days – both on guitar and keys, and no shortage of memorable vocal lines either. The songs are quite progressive in nature, shifting tempos often and packing each track with a great selection of riffs and rhythms.

More striking than that though is the emotion. There’s anger, pain, melancholia, and a bit less hope than most Savatage records. This one stays pretty strictly in pessimistic, almost apocalyptic territory, lamenting the state of the world both globally and personally. It culminates in closing track Back to a Reason, which is in my opinion the finest song the band ever wrote, evoking intense emotional passion and desperation across 6 minutes of melodramatic progressive epic.

It’s not as flashy as the Zach era and it’s much more somber than their earlier works, but it’s a magnificently written album that closes out their discography perfectly. Also, classic Heavy Metal this good in the year 2001 was extremely hard to come by; Savatage sticking to their roots and dropping this was a great move and gave future bands a worthy template for the new millennium of Heavy Metal.

It must be clarified outright that I’m typically not a fan of Avant-Garde Metal or Experimental music in general. Avant-Garde Metal usually falls into one of two horrible tropes: the first being that Avant-Garde Metal musicians seem to think that Avant-Garde means it’s not allowed to sound auditorily pleasant, as in the music must be dissonant, chaotic, or abrasive in order to qualify as Avant-Garde. The second is Circus Metal.

Leaving Your Body Map is an offender of the first trope. And to a degree, it is both forgivable and understandable; the album is a very dark and surreal experience. It prominently features Doom influence in the sound, and while lyrically very cryptic, there are hints of themes that range from ethereal and innocent to depressing and traumatic. To that extent, dissonance and chaos are not only appropriate but welcome, and help to evoke certain aesthetics and themes that the lyrics prefer to keep concealed behind a layer of mystery and allegory.

The issue is that there’s just not that much to hold on to, or even enjoy at times. Sure, lumbering, dissonant guitar chords with some off-tempo jazz and a flute thrown in for god knows what reason can appropriately convey a certain sense of anxiety or breakdown, and it can even be interesting, novel, and atmospheric, but is it enjoyable? Well, for me, the answer is not always, not if there’s too much of it. I need melody, harmony, and order to balance the dissonance and chaos in order for it to work successfully.

Maudlin of the well, to their credit, do include a fair amount of more melodic material (mostly prevalent in their acoustic interludes), and a great variety of eclecticism in general. The issue there is that, well, the melodies just aren’t that strong. Everything from the vocal lines to the instrument leads fail to carry memorable melodies.

Let’s talk about a positive though, an area in which this album absolutely excels: evoking the dreamlike aesthetic of the surreal. It’s not just the weird cryptic lyricism, sound effects and liminal album art that convey this. Everything about the song structures, from the production and density to the composition style. Often, songs will throw in instrumental pieces or vocal lines that are not clearly audible, being kind of muffled behind the primary wall of sound, that evoke how difficult it can be to properly “perceive” things in the haze of a dream. Another aspect is how the songs will simply do things that don’t make sense; not just the dissonance, but the way individual instruments will play their own piece seemingly ignorant of the others, out of key, out of time, yet bound together just enough to remain musically cohesive. Much as our brain struggles to make sense of the nonsensical nature of dreams, yet tolerating it for our own sanity.

It should also be noted that every range of dream is covered here: the ethereal, the calm, the nonsensical, the nightmares, the longing, the traumatic. The range from full-on pummeling Death Doom to peaceful Chamber Folk is quite a feat.

I really appreciate this album, and am incredibly fascinated by it. I think it’s a bit of a marvel of musical composition and ideas. But, it’s not always pleasant to listen to. And not in the good way, like a really depressing Doom album that I only want to hear to achieve such a melancholic mood. I mean it just straight up doesn’t sound good at times. There is such a thing as too weird, and too many Avant-Garde artists are guilty of catering to that need to be weird over the need to write a good song. Maudlin of the well are nowhere near as guilty as most Avant-Garde artists in that respect, but still enough so that the listening experience of their music is damaged when some slightly more conventional directions could have resulted in a masterpiece.

A Sun That Never Sets is a relatively subdued album by Neurosis standards. Not only is it quite slow and doomy, but it also has many sections of very restrained instrumentation where the guitars become quiet. Post-Rock and Neofolk are woven between the grander Atmosludge sections, fostering a more minimal sound. Of course the miserable industrial atmosphere remains, but it is one of the “calmer” Neurosis albums, if you can say that.

Most Neurosis albums have a bit of a theme running through them, and this one has constant ties to nature and the sun (this being the second Neurosis album named after center of the solar system). Although they are rather cryptic, there’s a constant feeling of epic grandeur set to the beautiful planet burning to the ground. Mythological apocalypse style.

On this album yet again, Neurosis fall into the same problem I’ve had with all their albums (Except Souls at Zero which was a masterpiece). They craft some really incredible moments, such as the bagpipe-backed crescendos in “From The Hill,” but the issue is they take forever getting there. The band will mull around with some boring, lethargic riff that doesn’t do anything for minutes before they get to anything good. And some of the songs don’t even have a nice payoff. The album ends up feeling very bloated.

At this point in their career, the band are pros at layering dense atmosphere of industrial sludgy madness, and in that area they never fail. The song are rich and mixed well, with many atmospheric effects only revealing themselves after many listens. This adds a great relisten-ability factor, and helps detract from the, at times, boring simplicity of the main instrumentation.

Still though, most of these songs could have been cut in half, or simply need way better riffs or melodies to succeed. A solid release, but its own meandering holds it back.

Paradise Lost is known as an epic poem written by 17 century poet John Milton, centered around the fall of man and the fallen angel Lucifer. The dark romanticism of that tale would lyrically influence several metal bands. The British gothic metal band Paradise Lost was named after that epic, and then we have an entire concept album based on the story, Symphony X's epic masterpiece Paradise Lost!

This was another very important album for me over a decade before this review. It was at this point when the band distanced from most of their neoclassical power metal roots and became progressive. The increase in odd time signatures and heavy riffing gives it away while still keeping you hooked with melodic choruses.

The bombastic orchestral overture "Oculus Ex Inferni" starts the album, painting the skies with the flames of a beginning war. Then the first actual song "Set the World on Fire" gets the action rolling in this battle of angels and demons. Attacking hard is "Domination" with top-notch vocals by vocalist Russell Allen, sounding vicious while staying clean. "Serpent's Kiss" has some killer groove, though it's a little more an average song, while not deducting the album's perfect 5-star rating.

The title track is a beautiful ballad. A little subdued, but still great. There's more the catchy fury in "Eve of Seduction". I can practically memorize those lyrics and maybe try to sing them, despite them having some cheesy romance. That's brushed aside by the blend of the album's progressive metal with their earlier speedy power metal. It's also a solid break from their groove-ish tone in the songs before the title track. "The Walls of Babylon" takes their roots even further as some parts into the neoclassical and choral dynamics from The Divine Wings of Tragedy that were last greatly utilized in The Odyssey.

"Seven" is aptly titled in so many ways. It's the 7-minute 7th full song of the band's 7th album with the occasional 7/4 time signature. How symbolic can you get?! Another kick-A track! "The Sacrifice" is another ballad. It's not bad, just a little tame. But that's just the speedy side of me talking. The memorable 9-minute epic "Revelation (Divus Pennae Ex Tragoedia)" has so many cohesive ideas. If you can get hooked by the neoclassical leads and melodic chorus, you'll definitely wanna stick around for the rest.

For those new to the band's material, Paradise Lost is the best place to start, with its blend of complexity and accessibility. Longtime fans can also get a glimpse of many of their past works. 10 years before this review, this would've been my personal best album of 2007. The heavier albums are still fighting for the throne!

Favorites: "Set the World on Fire", "Domination", "Eve of Seduction", "Seven", "Revelation (Divus Pennae Ex Tragoedia)"

In all honesty, I'm glad we have star ratings in this site instead of percentage ratings. I wouldn't have to decide whether a 5-star album deserves a perfect 100% or not. The two other Symphony X albums I've given 5-star ratings to have one slight problem that would knock each one down to say 97% or 98%. But this album, The Odyssey is absolutely perfect, 100%! And although it's not a concept album like their 5th album V was, it captures different themes in each song to get you hooked.

Symphony X is known as a progressive metal band, though not in the same way as a band like Dream Theater. There's more technicality and orchestra, and the band can sound extreme while staying melodic. All this makes a perfect mix that I regret taking a long-a** break from.

We already get a full-on standout in "Inferno (Unleash the Fire)". Both the music and vocals sound so aggressive, heavier than their previous albums and hinting at their later ones. The riffing in the intro and verses really attack and mark the start of a more kick-A path for the band. "Wicked" loses some aggression but it's still quite wicked, with great soloing from both the guitar and keys. "Incantations of the Apprentice" is more eerie, containing some Lovecraft-infused lyrics. The vocals by Russell Allen can remind some of 70s Rainbow, particularly in the verses. Michael Romeo's guitarwork continues to shine, but Michael Pinnella's keys, not so much. But that's OK, because the guitars really help give the track some meat to beat.

Bringing back the keys right away after that previous track is "Accolade II", a soft while still heavy sequel to a track from The Divine Wings of Tragedy. Lots of piano beauty and audible bass in this one! My favorite part is a brief piano section with Allen's singing midway through the song, before the bridge. A couple minutes later, there's excellent soloing by Romeo. Absolutely breathtaking! Up next, "King of Terrors" flips the stylistic palate as the heaviest song by the band at that time. The riffing is simple yet heavier than most of the more melodic metal bands. While the vocals including the verses stay heavy, the piano lets out a slight calm moment then levels up the bass, drums, and vocals in the chorus. The song is based on Edgar Allan Poe's works, and it includes a spoken section from one of his poems. Add some keyboard/guitar complexity and you have what's basically early Queensryche gone Nightwish! "The Turning" is a short fast heavy track, and the riffs and leads throw back to their earlier neoclassical style.

"Awakenings" stands out with its synths and piano that sounds practically like a video game OST, plus beautiful singing by Allen. There's still some speed that DragonForce would later have. It's both the second-longest track of the album and my second favorite here. And only one track would surpass that one on both accounts... The title epic is the longest track the band has ever done, at over 24 minutes. You know how much I love long epics, especially when there's lots of fresh variation. I love those kinds of tracks as much as the less progressive listeners love tracks that are up to 6 minutes long. A true epic should never be so draggy throughout its length (looking at you, funeral doom "epics"!). In these 7 parts of this epic, things can switch from orchestral to acoustic to metal, often going from slow to fast back and forth. And the lyrics do the journey of Odysseus justice! All I have more to say is, it's one of the greatest epics in the metal part of my existence! The limited edition has two bonus tracks, starting with a 1998 re-recording of "Masquerade" from their 1998 debut. As great as the original! The other bonus track "Frontiers" is a standout with intricate soloing from the guitars and bass.

OK, let's look back at my earlier situation. I've considered The Odyssey one of the best albums both now and over a decade ago. If I focused on only this band and album and others in power/progressive metal, I probably would never have switched to modern heavy genres like metalcore/industrial metal. But if I stayed in those latter two genres today without looking back, I would've completely forgotten about masterpieces like this. With that said, I'm grateful for how everything turned out, and I'm grateful to still remember the perfection of this offering. Fans of metal and all music should give it a go. It's an odyssey that shall be remembered for eternity!

Favorites: "Inferno (Unleash the Fire)", "Accolade II", "Awakenings", "The Odyssey", "Frontiers" (bonus track)

The 5th Symphony X album and the second part of their quintessential quadrology isn't as perfect the other 3 albums, but it certainly marks a well-done entryway into their later progressive metal. The neoclassical madness last used prominently in Twilight in Olympus is fading out a bit, while the progressiveness starts to really build up, finalized in The Odyssey. V: The New Mythology Suite stands greatly on that fine line!

V is a concept album that covers different mystical locations such as Atlantis, Egypt, and space. The music and lyrics are quite beautiful, making this solid album almost as much of a masterpiece as the two albums surrounding it for the most part.

The "Prelude" gets you hooked for what this album has to offer. Then it segues to the first full song and highlight "Evolution (The Grand Design)". There's some more beauty within the melodies in "Fallen", fresh from the Egyptian side of the story. That song loses some energy towards the end, but at least we have a moment to relax in the next interlude... "Transcendence" is the second interlude that's strictly just orchestral keys, similar to the interludes in Dark Moor's The Gates of Oblivion.

Seguing from there is the amazing 8-minute "Communion and the Oracle". Then we have the short yet strong "The Bird-Serpent War/Cataclysm" that can be considered the "In the Dragon's Den" of this album. Unfortunately, in the interlude "On the Breath of Poseidon", their attempt at alternating between metal and orchestra just falls apart. While it's the worst part of the album, I wouldn't consider it a stinker and the 4.5-star album rating isn't affected. Similarly with "Egypt", I feel like it could've been better if some parts didn't sound so familar. Still great though. "The Death of Balance/Lacrymosa" is a strange yet awesome insturmental, enough to make a highlight.

"Absence of Light" has some slight weakness while still bearable not making the album rating any lower. "A Fool's Paradise" brings back the awesomeness of the album's first half. The "Rediscovery" segue is a nice build-up to the grand epic... "Rediscovery (Part II) - The New Mythology" is an awesome 12-minute grand finale. It's epics like this that put them in the progressive metal club of Opeth and Dream Theater, and it reminds me that the glory is left unbroken.

I think this album would've been 1000% perfect if they've improved a few songs and segues, and indexed both "Rediscovery" parts as one track. Nonetheless, V: The New Mythology Suite is another excellent album that is practically a long progressive symphony!

Favorites: "Evolution (The Grand Design)", "Communion and the Oracle", "The Bird-Serpent War/Cataclysm", "The Death of Balance/Lacrymosa", "A Fool's Paradise", "Rediscovery (Part II) - The New Mythology"

My grand experience with Symphony X's 7th album Paradise Lost has made me up to revisiting more to this band's albums. One incredible place to start is Twilight in Olympus, which is yet another classic that I've listened to since over a decade ago and still remember its glory. And considering how much I was into the modern classical works of Two Steps From Hell before switching to metal, no wonder I loved bands and albums like this masterpiece back then!

This can be considered the "Thomas" album since it's the last one with former bassist Thomas Miller, and drummer Jason Rullo was temporarily replaced by Thomas Walling (RIP). I say this is the transition album between the neoclassical era of their first 3 albums and the power-ish progressive era of the 3 albums after this one.

Some of the best progressive metal to surpass Dream Theater occurs in the opener "Smoke and Mirrors", one of my favorite tracks by this band. All we have in the structure is the mundane verse-chorus that ends up getting a grand enhancement, displaying the band's skills without having to make a half-hour epic. The neoclassical madness of this band Symphony X may be hard for simple guitar listeners to understand. But there are great guitar solos to learn such as the one around the 4-minute mark, performed by the impressive Michael Romeo. He often duets with keyboardist Michael Pinella, creating a sea of melodies. The riffing is not what you often hear in melodic progressive metal. Also I love the melodic singing by Russell Allen. He never goes as ridiculously high as other power metal vocalists, and sometimes he sounds nicely rough for the thrashy sections. And oh yeah, the awesome bass by Thomas Miller is audible. I'm not sure why "Church of the Machine" started with an industrial noise-ridden intro, but that doesn't matter. The heavy verses are in perfect balance with the chorus that almost turns the song into the band's own "Bohemian Rhapsody". The ending is quite abrupt, but again it doesn't matter. It just leads straight to "Sonata", a short instrumental take on Beethoven's Piano Sonata No. 8.

"In the Dragon’s Den" shows that the band can kick a** with the progressive neoclassical metal sound. Sometimes, melody doesn't have to be as deathly as Dark Tranquillity and In Flames. You can get it from bands that are meant to sound like Symphony X, Stratovarius, and Nightwish. Short songs balance out against longer epics like this next track... "Through the Looking Glass" is a long melodic track, following the band's trend of having at least one long epic since their debut and carrying on to subsequent albums. It lasts for 13 minutes and follows the "FantasMic" idea of 3 parts with the last being the heaviest. It ends up getting a bit repetitive towards the end, but still great.

Next up is another short fast track "The Relic", complete with a perfect chorus. The riffing aggression carries on into "Orion - The Hunter" alongside amazing vocals in the verses. I'm not too fond of the soloing, but once again, the 5-star album rating stays intact. Similarly to the previous album, this one ends with a haunting ballad, "Lady of the Snow". Nice singing by Russell Allen and guitarwork by Michael Romeo. That's how metal ballads should be. Melancholic, not happy-sappy.

Twilight in Olympus has been quite a progressive journey through fantasy and mythology ala power metal lyrics, all poetic with only a small tasy dash of cheese. Romeo and Miller are two main songwriters in this album, but with Miller gone, Allen would take his place in the songwriting department. That early era ends as a new one begins!

Favorites: "Smoke and Mirrors", "Church of the Machine", "In the Dragon’s Den", "The Relic"

Deathrow made some major improvements to their general sound between the thrashy but fuzzy debut, Riders of Doom and their more epic and glossy Raging Steel, but they still had some improvements to make. This is where they decided, "Let's go crazy, let's get nuts," and turned into a freakin' prog band. And boy did they rock prog in ways most thrash bands couldn't at the time. I mean, some of these ideas sound like they were basically being Chuck Schuldiner before Chuck Schuldiner turned his band Death into a tech band. And sometimes they just get thrown in your face. That randomized piano playing at the beginning of Triocton kinda smacked my brown around like "What the hell just happened?" And they prove again that they're quite good at layering guitar riffs together. Of course, this also means there's a little less of the Teutonic side of things, being a bit more melodic and wild much like And Justice for All or Rust in Peace. Hell, you know they nailed it when a nine-minute song like Narcotic manages to flood you with a barrage of consistent riffs and progression that never gets too wild for its own good or overstays its welcome, AND THEN FOLLOW IT WITH A SEVEN-MINUTE EPIC. This was a major winner for the band, yet another improvement and a damn good reason to check out thrash.  This is the kind of album where the band proves they know how to both have fun with their chosen artform and treat it as an artform to grow and learn from.

92

I just can't stop thinking about the epic excellence of Hope for the Dying. I've mentioned that their album Legacy is their own Becoming the Archetype Terminate Damnation. This album, Aletheia, the one before that one, is actually what I would consider the symphonic missing link between that BTA album and the one from their early incarnation, The Remnant, even hinting at that band's early 2010s deathly era. Hope for the Dying can break the norms to make something wonderful. Similarly to Mechina's Siege, half the amount of songs each go over 8 minutes, and the last track is a 12-minute epic. And just because that's unusual doesn't mean there's anything wrong with it. Now let's pick up where Dissimulation left off and where Legacy would unfold...

With this album, Hope for the Dying has added more orchestral grandeur, enough for me to question why this isn't in The Guardians like Dissimulation. The lengthiness in many tracks comes from the different sections being quite long. It allows the instrumentation to really shine and help the band stand out in the metal and hardcore realms. Their move from the Strike First to Facedown was the right one, not just because it caused a boost in popularity but also Strike First's shutdown a year after this album's release. This diverse cauldron of influences has come from sounds heard in America and Europe, all in different eras. The epic orchestra might be a little too pompous in a few moments, but when they get it right, they get it WAY right! Also the stylistic associations with Becoming the Archetype are so clear that I'm surprised both of those bands have never shared members with each other. Although the name of this album is similar to former BTA guitarist Alex Kenis' main band Aletheian.

The opening track is the epic "Acceptance". You think starting an album with a nearly 10-minute epic is a rarity? Imagine also closing the album with two longer epics! But we'll get to those later on. Adding to this rarity is the high amount of instrumentation compared to the vocals, and this often-unsuccessful move actually ends up paying off, keeping me hooked through and through. A fantastic start to this journey! "Reformation" starts off heavy with the usual growls and screams letting out lyrics about uniting for war, "marching as one, the reformation has begun". The track overall sounds like War of Ages gone orchestral, especially when it's short and straight. "Iniquitous" kicks off with some European neoclassical shredding. Then the lyrics battle against false beliefs, "you almost believe the lies yourself". Lots of epic power despite being a short song!

"In Isolation" begins with what sounds like an Irish Jig, then the rest is their usual metal. The song was released as a single and has its own lyric video. Those lyrics and the music continue the spirit of Becoming the Archetype, leading up to a powerful climax towards the end, "I no longer wish to walk alone". Seriously, you should check that song out! Another example of depth comes in "Through a Nightmare Darkly", the title playing on the idea of seeing the face of God, yet twisting the image into a world of darkness and pain. Quite a poetic message to convey for a 5-minute instrumental track! It fits well conceptually when seguing to the next track "The Lost". The lyrics that maintain the message of the instrumental give passion and motivation to a lost generation, "this is a chance to rise". The great vocals of Josh Ditto ranging from screams to cleans gives him the vibe of Becoming the Archetype's two vocalists, Jason Wisdom and Seth Hecox.

We're heading to the final leg as we check out those longer epics, starting with "Visions". There's nothing new about this track, but it stays strong in the instrumentation and vocals that keep up the European-infused darkness. The cleans also sound similar to European metal vocalists to add diversity to the vocals covering American metalcore screams. A wonderful track for the patient and experienced! It segues to "Serenity", a serene interlude with lovely acoustic guitar. And finally, "Open Up the Sky", the closing epic that is the band's longest song at 12 and a half minutes. It's truly one of the most epic and innovative metal tracks I've heard in my life. Everything's so progressive with occasional hardcore bursts. You have to be really experienced musically and lyrics to understand it all. Then everything ends with distant piano. So legendary!

All in all, Aletheia is only for listeners who can handle metal, hardcore, epicness, and progressiveness all at once. And I am one of those listeners! If the orchestration wasn't too pompous though, I would've added that extra half-star needed for this album to be as perfect Dissimulation and Legacy. Still it is the kind of album you wouldn't typically expect in the modern era. If you can sit through an hour-long album with a few 10+ minute tracks with lots of heaviness and diversity, from beginning to end, you would certainly be one with the symphonic progressive metalcore world. And specifically, the world of Aletheia!

Favorites: "Acceptance", "Iniquitous", "In Isolation", "Visions", "Open Up the Sky"

It's quite a mystery how so many bands can pull off a genre well despite it losing the spark of interest it once had. Vildhjarta is one of the few ongoing bands that can still be considered a true pioneer of a genre nowadays. They started out in the djent scene of the early 2010s alongside Tesseract and Periphery, but stand out amongst them with their own djent subgenre thall. Their perfect legacy has spanned between their first two albums, staying loyal to their fans. And just under 4 years after their second album, their 3rd one Dar Skogen Sjunger Under Evighetens Granar (Swedish for "Where the Forest Sings Under the Eternal Spruce Trees") continues the gigantic brutal drama!

A few pre-release singles came out in the couple years before the album's release, and they continue to show their progressive stamina. Despite the remaining original member guitarist Daniel Bergstrom having left the band between songrwriting and recording, nothing has changed. In fact, this album has some of their heaviest work to date. Serene ambience gets crushed by a hailstorm of devastation.

"Byta Ut Alla Stjarnor Pa Himlen Mot Plustecken" (Replace All the Stars in the Sky with Plus Signs) plays around with some riffing in the intro, as the sun is darkened by an eclipse of downtuned guitar and bass, with the smog of brutality completely blocking out all light, similar to the Minecraft Betweenlands mod. The riffs and rhythms are both atmospheric and punishing. Melody only comes from the ambience. Everything else is an avalanche of heavy technical riffing. And there's more of that in "Tva Vackra Svanar" (Two Beautiful Swans), along with a brief moment of soft beauty in the middle. The end result is an experimental sludgy track like a more downtuned Will Haven. Then we get to a couple singles, starting with "Sargasso". The other single "Ylva" (Eleven) has some melodic ambience while focusing mainly on relentless guitars and drums.

"Dar Mossan Moter Havet" (Where the Moss Meets the Sea) has some progressiveness from Mechina and Protest the Hero without ever going as melodic as those bands. "Roda Lappar, Sota Applen" (Red Lips, Sweet Apples) barely has any sweetness, preferring to go all-out brutal similar to some of the more sludgy tracks by Every Time I Die and The Tony Danza Tapdance Extravaganza. "Kristallfagel" (Crystalbird) masters the brilliant dreamy djent, while Vilhelm Bladin's vocals stay intense. "? Regnet, the ?" (The Rain, the) has some of the metalcore from God Forbid and Knocked Loose made even heavier and more sludgy.

"Hosten Som Togs Ifran Mig" (The Autumn That Was Taken From Me) has some slight vibes from Bleed from Within. "Viktlos & Evig" builds up the mathy thall further, swinging through progressive intricacy and occasional cleans. "Stjarnblodning" has some Varials vibes bleeding out. The final track "Den Spanska Kanslan" has the last unforgiving riffing throughout this glorious 7-minute epic before letting light shine again, albeit not as bright as it once was.

This skull-crushing offering Dar Skogen Sjunger Under Evighetens Granar is another irresistible album to look out for. It probably would've been perfect if the song titles weren't all in Swedish and having plus signs surrounding each one. Still this is true thall hellfire!

Favorites: "Tva Vackra Svanar", "Ylva", "Dar Mossan Moter Havet", "Kristallfagel", "Viktlos & Evig", "Den Spanska Kanslan"

A decade had passed since the djenty debut album by Vildhjarta, Masstaden, the album that pushed the boundaries of djent just like when Meshuggah invented it in the mid-90s. The long wait for their second album is partially because of Calle Thomer (guitar) and Buster Odeholm (drums) being focused on fellow thall developer Humanity's Last Breath. They still have their perfect groove-ish progressive djent in this next album, the massive 80-minute Masstaden Under Vatten (Seagull Town Underwater)!

While thall can mean anything, I would say it's as evil and strong as Thrall, the World of Warcraft character that inspired the genre's name. This is exemplified by the complexity, atmosphere, and downtuned heaviness that make the subgenre.

"Lavender Haze" makes its immediate entrance with staccato riffing. Enough to make up for Ion Dissonance disappearing after their 2016 album! Starting off a 3-part epic is "Nar De Du Alskar Kommer Tillbaka Fran De Doda" (When Those You Love Come Back From the Dead), sounding progressive and heavy as always. "Kaos2" attacks with its hammering riffing and monstrous vocals. "Toxin" continues on and once again follows the band's unconventional ways including no set structure, destructive riffing, and clean melody only used for haunting atmosphere, thereby maintaining the band's aggressive evolution. "Brannmarkt" (Branded) sounds dark and heavy while twisted through deathly heaviness. The single "Den Helige Anden" (The Holy Spirit) was released two years before the rest of the album, and blends melancholy with polyrhythms.

Taking things to another level is "Passage Noir" with catchiness to go with the atmospheric savagery. Then the 5 and a half minute instrumental "Masstadens Nationalsang (Under Vatten)" (Seagull Town's National Anthem (Underwater)) follows, a highly extended re-recording of a song from the previous album. The riffing can repeat without sounding repetitive, allowing you to let it flow. "Heartsmear" is more dynamic, as the riffing can go from slow and crushing to fast and blasting. The long 7-minute "Vagabond" sets the apocalyptic mood in downtuned chaos. "Mitt Trotta Hjarta" (My Tired Heart) reminds you not to give up on this 80-minute journey, not matter how tiring it is to some.

"Detta Drommars Skote en Sloja Till Ormars Naste" (This Womb of Dreams is a Veil to the Nest of Snakes) is another impressive deep thall labyrinth. "Phantom Assassin" is another short track yet so detailed. I consider the two "Sunset Sunrise" tracks as one. Those two tracks once again break down the walls of conventionality with the talent of each member. The vocals of Vilhelm Bladin, the drums of Buster Odeholm, the guitars of Calle Thomer and Daniel Bergstrom, and the bass of Johan Nyberg, all drifting through these dark djenty waters. The tempo is cranked up in "Penny Royal Poison", sounding so clean and filthy at the same time. The closing epic "Paaradiso" is the band's longest single track at 10 minutes, and there's nothing exhausting about at it all. Dexterous harmonies with hints of post-jazz make another sonic behemoth. And after a brief fade into the background, it all ends with a final atmospheric brutal touchdown, like a world-ending apocalypse.

Masstaden Under Vadden continues Vildhjarta's brutal glory after that decade-long gap between albums. It's like after djent faded from popularity, it was jolted back into memory by the fresh sound of thall. It has opened up dimensions of darkness and brutality that barely any other band could. This is true kaos!

Favorites: "Nar De Du Alskar Kommer Tillbaka Fran De Doda", "Toxin", "Den Helige Anden", "Passage Noir", "Vagabond", "Detta Drommars Skote en Sloja Till Ormars Naste", "Sunset Sunrise", "Sunset Sunrise Sunset Sunrise", "Paaradiso"

Djent has been known as the genre pioneered by Meshuggah, cutting through with its heavy downtuned guitars. It's so heavy and metallic that why Metal Archives doesn't accept that genre is beyond me. The late 2000s and early 2010s was when djent was really taking off beyond Meshuggah with bands like Animals as Leaders and Tesseract. Then in 2011, Vildhjarta (Swedish for "Wildheart") took a more brutal step further with their debut album Masstaden (Swedish for "The Seagull Town", and NO it's not a parody of Mastodon). Those other two djent bands are soft and light compared to this one. Barely any clean singing or riff melody, and no verse-chorus structures... Everything's more atonal, technical, and even sludgy. It's like Meshuggah but even heavier. And thus Vildhjarta have created... THALL!

Masstaden is a concept album that's part of a story that would continue in their second album 10 years later. The heavy intricate music would guide you through the story in all its deep detail. You might be able to get a better understanding if you're patient enough to stay the whole way through. And when everything's fully grasped, you'll be able to find all the beauty and brutality. Heavy rhythms from the guitars and growls often alternate with the soft ambience. There are many songs that stand out in a masterpiece album like this, and when you listen to it all at one go, you won't miss out on the glory it has to offer.

The moment I put the first track "Shadow" on play, I knew I was ready for this massive experience. The next track "Dagger" has a unique unbreakable flow. "Eternal Golden Monk" wastes no time with its seething grooves that prove the band as the f***ing masters of thall. "Benblast" (Bone Blown) is another example of this unique brutality. It really is a h*ll of a blast of thall!

"Ostpeppar" (East Pepper) is the first of a few interludes, this one being so pretty yet pretty eerie. "Traces" pleasantly surprises me with its intricate complexity and djenty variation. Not a single moment can be considered a waste of time. The atmospheric "Phobon Nika" (Fear Conquers) has strong guitar for a short interlude. I like the anticipation of waiting for which riff sounds clean and which sounds brutal as f***. "Masstadens Nationalsang" (Seagull Town National Anthem) is the shortest track, absolutely crushing with the djenty guitar leads. The world really needs more national anthems like that.

"When No One Walks With You" starts off a 3-part epic, going all-out brutal in the grooves. Then "All These Feelings" continues the awesome atonement all the way up to a sweet yet searing outro. "Nojja" is another interlude with epic thall riff-wrath. "Deceit" has more straight groove. "The Lone Deranger" is an incredible closing epic, with some swift tempo changes before the band make their exit.

Masstaden is far beyond what can be considered normal metal. This is thick brutal heaviness that requires full concentration. And in the end, you'll be rewarded with the excellence experienced through the journey. One of the most moving offerings I've encountered, for the patient and experienced!

Favorites: "Dagger", "Eternal Golden Monk", "Benblast", "Traces", "When No One Walks With You", "All These Feelings", "The Lone Deranger"

Thall is one of the most destructive genres in metal and music in general. This djent subgenre with elements of deathcore/metalcore and even smaller fractions of doom, death, and black metal, is a clear definition of modern extreme metal, and the people in Metal Archives who decide which bands to add must've overlooked this subgenre simply because they hate djent. The founding trio of the subgenre includes Vildhjarta, Reflections, and of course, HUMANITY'S LAST BREATH.

Just the name of this band can induce fear of a catastrophic apocalypse tearing the world apart from the inside, and it fits greatly with the material too. Crushing destruction that you can never escape from, just like a black hole. Darkness and fear are common themes for many metal bands past and present, but they're tame compared to what Humanity's Last Breath can do. The darkness is a lot more massive. Supermassive! The powerful devastation is much more than any other band's attempt at that. It will erase you from existence and bring you back, making an unforgettable experience like none other.

The atmospheric darkness first appears in the "Intro", lasting for a minute. You might think it's boring, but it's just the start of the massive sound it would lead to. The two-track suite "Bellua" is better suited as a full 8-minute epic rather than two parts. Altogether they display the heaviness of the album to come. With "Human Swarm", you can't go wrong with brutality in deathcore and djent. They know how to bust sh*t hard. After a spoken line of "We stop the wind from blowing", then comes a f***ing massive breakdown near the 3-minute mark. A nice surprise for the more extreme 'core listeners. Practically heavier than all that's heavy! Quite hard and evil for the moshpit. Then comes the beastly "Animal", another one of the heaviest tracks here. It's a re-recorded version of an earlier single, and the monstrous fury is so unreal.

"Shoals" speeds things up, sounding closer to standard death metal, maybe even melodeath. Nothing but skull-smashing velocity! Then we lose some brutality in the riffing in "Tellus Aflame". It's not really the best track of the album, but it still rules, and the perfect score isn't affected. "Vultus" is another hard-hitting track. The mix of heavy brutality and subtle melody makes it similar to a less symphonic The Breathing Process. Then there's the short atmospheric interlude "Drone". It's almost like a continuation of the intro that then leads to perhaps the most doom-laden part of the album.

The next track "Void" was released as a single for the album, the first single to not be a re-recording. Although it's quite killer and still maintaining the 5-star album rating, it doesn't represent the slamming might the rest of the album has and make me question its usage as a single. The heaviness returns to full gear in "Anti". Then "Make Me Blind" unleashes the brutal fury one last time. The "Outro" ends it all like it's literally the end of the world. By the time the destructive drama fades out, nothing would remain.

Humanity’s Last Breath has followed in the footsteps of Vildhjarta and made things more moshable and destructive. Their debut marks a strong memorable start to their journey of creativity and apocalyptic heaviness. By the power of THALL!

Favorites: "Bellua" (both parts), "Human Swarm", "Shoals", "Vultus", "Anti", "Make Me Blind"

Released in 1995, ‘In Your Multitude’ is the third studio album by Norwegian progressive metal band Conception. It follows on from 1993’s ‘Parallel Minds’ pretty closely, sounding almost identical in writing, sound and production, so much so that in all honesty, it’s often hard to tell the two albums apart. And as a result, despite being on my playlist for over a year, I still don’t really know what to say about it.

‘In Your Multitude’ isn’t a bad album, by any stretch. There’s some solid songwriting and excellent musicianship, in particular, with a strong emphasis on guitar acrobatics. And fans of Roy Khan (who would go on to front power metal legends Kamelot for a number of years) will enjoy hearing him in his earlier days.

The problem though, is that this is overall, a very average release. While there are a number of pretty decent songs, including ‘Under a Mourning Star’, ‘Missionary Man’, ‘Carnal Comprehension’ and ‘A Million Gods’, it just sounds too much like its predecessor, and in all honesty, there’s countless other things I’d rather listen to.

Had it immediately upon release and 36 years later own original promotional and consider it an example of unmatch, mind blowing virtuosity so beyond all other progressive metal before,or after that it stands as the bar set all others are defeated in their endeavoring to match much less even near. All the critiques posted are by resentful envious individuals throwing stones at those prodigies they can never emulate. 

Here it is, the final of the four Pain of Salvation albums for my marathon, and the final album before I complete my Prog Metal Challenge List. To recap, my ratings for the first three albums fluctuated drastically from the general consensus. People say that Entropia was a great metal debut, but to me it was a bit imbalanced and not heavy enough. I almost adored Concrete Lake, and I thought the much-beloved Perfect Element was a good but somewhat overdrawn album with too much fixation on post-metal influence that seemed to take away from the identity of the first two albums. And now, here I am, at the general opus.

While I loved the instrumental direction the short opener took, the next track, ironically named Ending Theme, so was I in for more of the typical prog metal sound that I was so weary of when my marathon began with the debut's first couple tracks? Fandango seemed to answer my question: not entirely. Fandango's general sense of rhythm is totally xylophonic, not built in metal energy while the backing effects and percussion deliver a strong sense of surrealism. This is basically an experimental track, and I mean almost Residents level, even though it clearly uses the same instruments as previous efforts, so that was a damn good sign. But unfortunately, the next two tracks, while great and beautifully melodic, only provide faint ventures from the standard to other areas, so I'm not so sure what'll happen next. The eight minute Trace of Blood has some nice piano melodies scattered around, but remains high-level typical. The next track, This Heart of Mine, seems to have some Gabriel-era Genesis influence in the vibes, but not very strongly. Undertow was kinda lame in comparison. It just repeate the same slow melody over and over again and only differentiated itself by being more quiet.

Things got pretty proggy again on the more active track, Rope Ends, which knows how to put together a decent rhythm while maintaining the very reason I listen to prog in the first place. This one didn't stop being catchy, even when it was going wild. I get a nice follow-up with some Latin folk influence on Chain Sling, which showcases the best of the band's previously established strengths. Easily a winner of a song. Dryad of the woods continues the folk rock focus and is a nice and soft tune on its own, but even slow songs have more pizazz, and while this was nice and emotional, it was also missing that special something. After the title track, which is a largely prog electronic two-minute segue with a tamed but epic approach, the next track is immediately shamed as it falls into only decent melody and standard behavior for the band. Purely palatable, not remarkable. Same with the track after that, but then the ending, Beyond the Pale, gets back on track with a proper ending that takes the overall vibe of the band to a good strength, ending with one of their more emotional and rhythmically healthy takes of the modern prog sound.

Well, I didn't get the magnum opus everyone was bragging about, but it has plenty of strengths among the traditional sound. This was a very enjoyable album overall, but I'd say that instead of it being one of the greatest I've heard, it's more on the level of Dream Theater's underrated debut.

87

After turning this album on, immediately after concluding One Hour by the Concrete Lake, I certainly wasn't expecting the verses to be orchestrated in NU METAL. But that didn't tell me this was gonna end up a nu metal album, just that this album was gonna end up wild and varied just like the previous efforts. Honestly, there's really no way to tell with these guys. But it's pretty obvious from the slow melodic structures and the nu metal influence that they were trying to appeal to the modern alternative crowd without being an alternative band. You can easily tell from the way our singer occasionally shouts in a very similar manner to Wayne Static. Despite this, post-metal also reigns pretty strong in the background, having a larger say than any other kind of influence in the album. This creates a strong sense of ballad-based serenity throughout a good chunk of it. These are good tracks with a strong sense of progession and some fine melodies, but in comparison to the wide range they went with on the debut and managed to balance out beautifully on the second, this seems a bit less inventive. For example, the first half of Her Voices is made up of this until it takes an immediate shift into speedy Arabic influence, as if they suddenly became The Tea Party. But there are songs that are practically entirely made up of the post-metal influence, like the titular closer. And unfortunately, the songs, while quite enjoyable, are a bit too similar too each other in moods, and the melodies are often a bit light. So in short, this was a GOOD album for me, but not brilliant.

82

I don't feel like doing another track-by-track review today, so I'll just cover the most important stuff. Hearing the actual music kickstart with a beautiful piano metal intro already told me there was a Symphony X similarity that might end up going through the whole album. As a huge fan of Symphony X, I adored the neoclassical piano focus. While I can't say this was "groundbreaking," I was certainly impressed with the healthy upgrade in balance between melody and progression, as well as a totally new sound for the band. On top of which, metallic moments seem to be a bit heavier and more layered, which was an issue for the more metal-oriented songs of the debut. The occasional industrial backdrops also help with that, as well as with more robotic guitar tones and riffs. And of course, there's always a little room for a softer and more contemplative song with some violin attached. But these elements don't often overpower the standard dramatic prog metal aspects, but rather add light influences for the most part. In fact, it's enough to make sure most of these songs feel different enough from each other to almost be different subgenres of prog metal. Handful of Nothing, for example, is quite mechanical in its handling of hardcore punk influence, never really steering into "metalcore," though.

I gotta say, though. Only about half the time the melodies manage to really impress me. For example, a wonderful collective of rhythms takes up the bulk of Home, but in comparison, a track like Water feels a bit empty. Thankfully, the former happens a bit more often. A track like Home is followed by an incredibly proggy yet catchy track like Black Hills, making for an excellent pairing. Hell, I'd say Black Hills even astounded me, managing to be better than the already grand Home. On top of all that, the various sounds and feelings connect well with the emotional focus of the theme, centering around the dystopian devastation and pollution of the world due to man's lack of sympathy for the world around them. The theme isn't very story-based, but it does an excellent job sharing the lead character's feelings of despair. Of course, it goes without saying that it takes a while for that hidden track to really pick up, about four out of six minutes. But once it does, it really does, going into some beautiful avant-garde that perfectly covers what the album went through in a very quick time.

Major improvement over the last. This is considered the weakest of the first four Pain of Salvation albums? I might not agree with people's general consensus on the debut, but the improvement here seems like a very good sign for what's coming next.

93

Today is the day I finally finish my second list challenge: the Prog Metal 2nd Decade Challenge, and it'll happen on my Pain of Salvation marathon. I'll be getting through at least the first four PaS albums, potentially ending at the album I need for the final review on this challenge list: Remedy Lane, the fourth album. I never really got interested in Pain of Salvation for some reason, but I'll gladly check them out for the challenge.

Entropia is a concept album about a struggling family in a fictional titular world, and the main characters are basically detailed in a pretty poetic collection of lyrics that are also standardly "prog concept album." I an't say there was anything here that made me feel too heavily. Now I'm not saying that I didn't have any good expectations for Pain of Salvation's debut, but with the genre-tagging on RYM simple saying Prog Metal for primary and Prog Rock for secondary, I had a pretty good idea of what this album would sound like: standard guitar tones for prog metal and catchy mid-level progression that's only proggy enough not to stay off the radio. The opener and the next song (not counting the pretty lame trip hop segue in between) are so standardly 1990's prog metal that it's not even funny. Dream Theater obviously ended up manifesting a lot of emulators, such as Shadow Gallery and Evergrey. Is it catchy? Yeah, but I've totally heard this before. In fact, I need it to be a little proggier. Save the radio prog for Rush, guys.

Now I was pretty thrown off by the funk aspects that kicked off the nine-minute People Passing By. That's considered to be one of their better songs on this album. The song has a tendency to switch between these and blackened riffs in the same percussion tone like they naturally go together. I wouldn't say that, but at least the prog improves here. But it just isn't catchy enough or even heavy enough to really support my prog metal needs until the end when it pretty much just goes back into the standard behavior of the album. After a totally standard ballad, the album takes a much catchier and outlandish turn with Stress, boasting instrumentation that even goes into Cardiacs territory with its hyper-melodic nature. Unfortunately, while the instrumentation's awesome, singer Daniel Gildenlow's melodies are just lame and don't pair well with the song much.

Things get largely standard again on Revival, which tries to capture the same spirit as Stress but only really succeeds in one aspect: matching the singer's melodies to the instrumentation. Now for the most part, To the End is the best the album had to offer. Everything was energetic, in perfect harmony, and catchy while maintaining that intriguing unpredictability of People Passing By, even though its style is standard. Next comes Nightmist, which is much less melodic and more built on maintaining an ever shifting atmosphere between fast and funky, slow and dramitic, and surprisingly hyperactive for a couple seconds, but I don't feel like banging my head to this one, even as the funk returns in small bits. It seems more like a display of how proggy they can be without setting up the experience as a "song." Plains of Dawn feels like it's going for more of a tonal balance as a slightly-symphonic prog rock song, and it kind of works, but also just tells me that they should've done some more about balance and behavior from previous songs on the album. And finally, there's that ending segue (the segues have been largely unremarkable, by the way), Leaving Entropia.

A lot of people were very impressed with this debut, but it seemed generic at times, proggy but imbalanced at times, and showed a lot of compositional strengths that weren't always lived up to.

73

This year’s exploration of new releases has seen me approaching the early signs of burnout as we reach the halfway point of 2025. With some two hundred and fifty albums already listened to, many of which soon got dismissed before ever being considered worthy of a second listen, it was starting to get a little tiresome. I am grateful though of the releases that still transcend this creeping sense of tedium. The ones that manage to still leave more than a mere dent in the plethora of releases in the year so far. These albums and EPs have something about them, an essence of some strength beyond their grim content and corpse-painted faces. Whilst they don’t always have to be soaked in progressive tendencies, albums such as Incendiary Sanctum are what have kept me largely going this year.

These Canadians come from a strong pedigree of black metal bands, with the country already being responsible for giving me Spectral Wound, Nordicwinter and Panzerfaust, to mention but a few. They are different to pretty much most of what I have heard come out of Canada to date though, deploying a strong death metal element as well as having a post-metal vein running through their sound. It is easy to look at an album with track lengths that extend to nearly nineteen minutes and be discouraged. Indeed, I would go as far as to say parts of Incendiary Sanctum look daunting. However, my experience of these lengthy tracks has thankfully not been one of progressive wankery or grandiose showmanship. Even without that imposing nature to performances it is clear beyond any doubt that everything is remarkably well played here. Equally the album is arranged very intelligently, and yet even with this order to proceedings, especially with that post-metal element being so strong, the dynamics of the sound do not suffer. Arguably the most obtuse thing about the band for me is their ridiculous name.  A Flock Named Murder?  Really?

The four tracks that run over the hour and three-minute duration are all delivered with a maturity and a sense of patience being applied to the song development. This is not just four tracks of post-metal that grow into raging black metal crescendos at the halfway point, to be then taken into some death metal section before fading away into more minimalist pastures to end. The structures here are varied and are kept interesting throughout the longer than usual runtimes. Think the clever songwriting of Cult of Luna coupled with the innovation of Enslaved and then throw some Agalloch in there to temper everything and you are absolutely on the right track. I would argue that this is more entertaining than anyone of those bands in isolation (notwithstanding that I am not Agalloch’s biggest fan by any means) and being able to take the better elements from just three such well established artists show a talent in itself of course.

Incendiary Sanctum is one of the better-balanced releases that I have heard in 2025. Where it does lean into prog it does so without managing to lose me. The death metal element is strong throughout and whilst there is little room for black metal, what is here is still of excellent quality. It does start to lose some traction with me if I listen in one sitting and I do find that splitting the album in two does tend to reap the better rewards for me. I cannot think of anything else I have heard this year to compare this with and as such it stands out from the pack well in what has already been a very busy year.

I'm on several metal communities, sometimes more active on others that some, and I never really see anybody talking about Indukti.  I was honestly under the assumption that they were just thrown in the Metal Academy Prog Metal List Challenge to fill up the 25 entries.  I didn't really have the highest hopes getting into this, but I had quite a bit of fun.  The seven minute opener, Freder, has a loosely industrial repetition about that maintains some originality and catchiness with a good, heavy attitude, so it was a good opener.  But then an acoustic ballad takes over on Cold Inside, and it's just gorgeous.  This one progressed perfectly, rivaling some of the folksier or symphonic stuff I heard when I was going through classic prog on Progarchives.  The acoustics transcend into track 3, titled No. 11812, which goes back into the metal weirdness and maintains a keen unpredictability, balancing out acoustic melodies with layers of electric monotony that exude futurism.  Track 4, Shade, begins with a heavily tribal ambiance, emerging into a meaningful combo of violin and heavy metal energy overtime.  Then comes Uluru, which is just freakin' maniacal.  It has everything from violin to Paranoid Android sound effects to robotic growls that sound like burps to a didgeridoo opening and doesn't spare a second without going into mindwarp overload.  Now track 6, titled No. 11811, is where some similar ideas get tossed around, potentially meaning they used up the majority of their ideas and decided to finish up with clever instrumentation to fill up the album.  It's still quite good, but for such a creative album, a little more spark would be appreciated.  The nine minute closer does this as well, but it manages to keep things cool and refreshing.  This album is a lot like a Devin Townsend album, and I really do recommend it.

95

The debut album of Green Carnation, Journey to the End of Night, was a conceptual beauty but a rhythmic near-disaster, recycling simple riffs and surreal concepts between overdrawn epics while maintaining a strong sense of atmosphere and mystique.  So these guys had their work cut out for them on the second album, especially considering that it's entirely composes of a single hour-long song.  This was either going to be a monolith or a botched work.  It ended up being the former.  We finally have that total harmony between the instruments that allows them to flow from one genre to the other seamlessly, matching the intrigue and mystique of the debut with much better production, just as clear as before but balanced in volume and impact between each player.  Its grandiose behavior isn't quite so overtly melodic and epic in the way that a Mozart piece would be.  It's a slow walk in the woods during a blood orange sunset, covering all your emotions on the journey, much like the cover appears as.  Now rhythmically, it's easily an improvement over the first.  Throughout, good rhythms evolve into each other, once again, seamlessly.  However, I would still go as far as the say that melody is the worst aspect about the album, as it rarely ever reaches out to astound.  Otherwise, the album does everything it can to maintain this Autumn evening atmos, even when the technical Pt. II takes over right into a dive of new age vocals, acoustic guitar and smoot sax.  Because you need to know: this isn't a "metal" album... this is an ALBUM.

Green Carnation, a prog band formed by ex-Emperor bassist Tchort, is a band I've put off for a long time so I can focus on other kinds of metal and other genres in general, but I finally have the freedom to check out one of the three bands I need left for one of the Metal Academy prog metal list challenges.  Even though I only need to review one of their albums, I wanted to go back to the beginning, as I believe a real student should expand further than just one album per band as the lists are exclusively formed.

So starting with the debut, I was quickly introduced to a psychedelic atmosphere that I had never heard before.  The thirteen minute opener, In the Realm of the Midnight Sun, was an obvious effort in putting together various styles in a way that fit and could justify the length of 13 minutes.  Now I'd say as far as progressing the various genres in one song goes, there wasn't any problem with that.  But there's something that really needs to be addressed: some of the rhythms outshine other parts of the song by country miles, so the song still feels inconsistent in that way.  I thought to myself, "I supposed that's where the leading criticism comes from?"  I had other epics to check out before I could be certain of that.  Another product of the inconsistency is how some metal moments are much heavier than others.  I suppose the drums were improperly mixed, feeling a little faint for what they were striving to achieve.  But by the third epic, which totals tracks 2-4 into 45 minutes, it kind of becomes a cycle of reused tricks in different epics, creating a sense of overlength.  Even the fact that several shorter songs take up the end doesn't really detract from this.

For a first attempt, there's some good genre balance and ambition here, but the lack of original rhythmic ideas tells me that this was merely the band tackling too much at once and only fairly succeeding more at the intrigue rather than the music.  It's a fine first attempt in that way, but more or less decent in other ways.

I can always get behind the idea of changing your sound a bit.  Fates Warning have slowly done that over the course of several albums, but typically, they will remain a metal band.  It's not so apparent in A Pleasant Shade of Grey, in fact I'd go as far as to say it's not a full-on metal album, but rather rock with a couple metal influences.  And I'm totally cool with that.  I was hoping this album would be one of the absolute berst of its type, but Fates Warning has only impressed me once in that vein out of several albums, so my expectations were closer to the 9/10 vein.

From what I've studied, Fates Warning are basically a top 10 in prog metal as far as popularity and influence goes.  Of course, when you're going to tackle prog, you have to be careful that your technical melodies and the harmony of the instruments don't come off as wonky.  Part II was fairly guilty of that during the verses, so the first two parts didn't really do much for me musically, despite setting a good preconceived standard for the rest of the album.  But it took way too long for me to get to a spot to where I could feel like absorbing an atmosphere, bobbing my head, getting intrigued, etc.  Part 5 had a good level of psychedelic intrigue to it, but it simply wasn't strong enough to stand out amongst the masses of prog rock or metal IMO and it didn't justify the wonkiness in the other parts of the song.  Things started to feel more fleshed out and make more sense in the second half, featuring better examples of prog that took a few key directions that cemented the second half as superior to the first.  But when the band was trying out some metal in the fix, the softer focus of the album got in the way of heaviness, making it feel more like general rock, so while they have every right to make a rockier album, any metal should actually be metal.

it shows this vintage group of prog metal pioneers somehow struggling to maintain proper atmosphere, being more focused on maintaining a softer presence that they only occasionally succeed at.  This is also to say that when it was trying to be metal, it wasn't heavy enough.  They have every right to change their sound, and this was a pretty good attempt with a few good songs, some interesting technical ideas and a little bit of experimentation that never broke the flow.  But sometimes it feels a little empty, and sometimes the rythms are a bit wonky, so the album feels incomplete.

De toorn is a two-track EP running for 25 minutes and is the first of two EPs already released this year by the belgian atmospheric sludge band. Both tracks follow a very similar path, starting off in a very gentle, minimalist manner. The opener "Heden" begins with soft, heartbeat-like drumbeats and a murmuring bassline interjected with gentle guitar strumming and vocalist Colin Van Eeckhout quietly intoning the lyrics with a spoken word delivery. We all know this quiet calm cannot last and that it is just a matter of time until the wave comes crashing in. That it takes until the final quarter of the track for it to happen, just as you start to wonder if this is not the track you thought it was, it almost takes you by surprise. Van Eeckhout goes into full desperate, Burzum-like shrieking mode as the heaving tsunami riff hits and the shuddering climax is brought to fruition. Heden is definitely a case of the payoff being worthy of the build-up and is a decent, if not exactly unpredictable piece of atmo-sludge songwriting.

The problem for me is that they then try to pull off exactly the same trick with the second track, the EPs title track. This time the quiet calm, post-rock led extended intro is provided by a jangling guitar and snare beat with the vocals again pretty much being spoken word. The climax this time around hits at the two-thirds in mark and takes a very similar form to the opener. Whilst the atmospherics on both tracks are exceedingly well delivered and they are obviously very comfortable with both their instruments and songwriting technique, the similarity of the two tracks feels almost a little lazy and too comfortable for a band who have delivered much more variety in the past. Look, these guys are good, and both these tracks are too, but I expected a bit more from such a talented bunch.

It's tough when a promising band is marred with its founder's horrid allegations. But you know me as the kind of person who separate art from artist most of the time. If you enjoy something that's good or even awesome despite a problematic member, don't be shamed into not liking it. With that said, it's as good as The Breathing Process's debut but not as awesome as that band's next two albums. The symphonic blackened deathcore sound is combined with the tech-djent polyrhythms of Meshuggah.

Ovid's Withering also seems to have cranked up the keyboards in an attempt to sound epic. It's fine but a little too pompous, like slightly too reliant of the orchestration of Septicflesh. Still it's in good flow with the guitar harmonies, riffs, melodies, crushing breakdowns, and drumming machinery...

The dark djenty wonders commence in "Panikon Deima", in which the soloing appears to takes some hints from Periphery. Adding to the symphonic extreme-core is the guitar technicality and growled vocals, even power metal-esque fantasy lyrics. Next track "Oedipus Complex" has more of the symphonic black metal influences to remind some of Dimmu Borgir including some orchestration and higher shrieks. Final track "The Omen of Lycaon" is the most deathcore-fueled of all, particularly in the vocals.

I wouldn't say there's much originality in The Cloud Gatherer, but Ovid's Withering have made a well-produced EP. The aggression is never lowered by the keyboard atmosphere, though the latter could've been less overpowering. This, and those allegations, makes me hesitant to explore further. Nonetheless, enjoy these symphonies of aggression...

Favorites: All 3, but my true favorite is "Panikon Deima"

HOW?!? How did I not discover this awesome modern metal band earlier?! Remember what I thought of Becoming the Archetype's debut Terminate Damnation? Hope for the Dying's most recent album Legacy basically continues the progressive melodeath/metalcore sound of that album but with more symphonic/neo-classical elements. Many people who enjoy this band have started off with Dissimulation or Aletheia, but my first encounter with Legacy makes me wants to check them out for the first time soon.

While there are some similarities to Terminate Damnation in terms of the sound, flow, and track lengths, there's only one interlude that is the intro. That's OK, because the rest of the album stands out as is. Before we get to that, I'd just like to point out the album cover. It may not be by Dan Seagrave, but it still has that epic Game of Thrones vibe.

So "Aurora" is a nice orchestral intro that lasts for a minute. "Setting Sun" fits greatly with its title, setting the album's tone in stone. The haunting keys shine greatly alongside the heavy guitars. The best place for progressive diversity is "Flame Forged", one of my favorite tracks here. Then we have the relentless "Narcissus" that continues its blend of heaviness and melody from beginning to end.

However, its abrupt transition into "Nemesis" is a bit jarring. My perfect 5-star rating still stands as that next track brushes aside that misstep with heavy dissonance. Lyrics like "I was a slave to my own demons" and deathly growls by Becoming the Archetype frontman Jason Wisdom makes that track another standout. I also love the guest gutarwork by Elisha Mullins (The Burial, Miss May I, War of Ages) including the Van Halen-esque divebomb at the end. "Trenches" is another fantastic dish of heaviness and symphonics that stays speedy until its slower ending section. "Wretched Curse" lets you rest in a slower tempo for the first couple minutes then speeds back up again.

After the previous track's brief soft moment, "Wander No More" has searing guitars to rip you apart. My ultimate favorite track of the album is the 9-minute title epic that really packs some punches. A smooth two-minute bridge comes in midway through before some blazing soloing out of nowhere. Then it ends with soft strings. The last bit of triumph comes in "Adamantine" which is an excellent summary of this glorious literal hour. And finally some soft piano to end it all.

As brilliant as Terminate Damnation is, Legacy is another huge deal of modern epicness. Every layer is absorbed through your ears into the brain, and you'll be able to experience this unique creativity in no time. You can expect headbanging metal sections, soft orchestral bridges, and different time signature changes. Just like Terminate Damnation, this offering is a standout in the Christian metal scene that can please both Christians and non-Christians. If I thought Mechina's Progenitor was the best album of 2016, that award might just be passed over to this album. There's still hope for Hope for the Dying to come back with something fresh to maintain their legacy!

Favorites: "Flame Forged", "Nemesis", "Trenches", "Legacy", "Adamantine"

Katatonia have a special place in my listening habits nowadays.  The album Fall of Hearts has been of recent importance as it guided me through some of the darker times of a relationship breakdown over the past year.  The Dance of December Souls is also one of my favourite records of the sub-genre of the time, and whilst I cannot pretend to be massively in love with everything the band releases, a new release from them will certainly wind up on my rotation list for a period.  With a couple of singles circulated ahead of the main album release, I was already prepared for more of the same from modern day Katatonia.  Progressive elements, fused onto a main hull of alt-metal seem once again to be the order of the day.  Pace and tempos do vary but there is still that lumbering undertone to their sound that scratches some of that Fallen clan itch for me.

My favourite element of the band’s sound, Jonas’ pained vocals, are in fine form here.  Never getting into the pleading territory, nor are they bleating about unfairness or uncertainty, they paint a melancholy picture without grating.  For their largely monotone presentation, this consistency could easily end up grating, yet they compliment the darkness inherent in Katatonia’s sound so perfectly.  The other element that stands out this time are the superb guitar leads that haunt the record at various intervals.  Just as harrowing as the vocals, they are the perfect accompaniment.  Also, there are some quality riffs happening here on Nightmares of the Waking State.  Add in the power of the drums and you soon find yourself in that strange atmosphere of a subdued, yet deep and thoroughly entertaining experience.

The infectious (yet somehow not catchy) chorus line of ‘Temporal’ is a genuine joy that sticks in my head for days afterwards.  ‘Efter Solen’ is a sullen and moody track with a sneaky build that grows subtly in the background of the dreamy vocals and keys, exhibiting a crawling ambience as it goes along. There is a variety to album number fourteen from the Swedes, that we all absolutely expect by now, but it is all so mature sounding, without being boring.  The predominant colour of Nightmares as Extensions of the Waking State in my mind after multiple plays is still grey.  That monotone is filled with bursts of white, some of them brighter than others, yet there is no real burst of vibrant yellows, oranges or even reds and that is absolutely fine for me.  Another chord struck with me here.

There is sometimes a danger that progressive metal becomes a bit too full of itself, tending towards the bloated and overblown, in a similar way that prog rock did in the 1970s. However, when it comes to producing an album with an overarching concept that requires a complex narrative arc, then the versatility of progressive metal is profoundly suited to achieving the aim. Where it works particularly well for me is when it is utilised as a storytelling tool by bands from the more extreme metal genres. Enslaved and Opeth are two particularly brilliant examples of this and more recently the like of Blood Incantation and Monolithe have taken that route with some pretty far-out sci-fi themes.

Now I only relatively recently came across Crimson, but it is an album that can confidently stand shoulder-to-shoulder with any of those previously mentioned. Taking a really solid grounding in swedish melo-death with some terrifically memorable riffs and a chunky guitar sound, then drawing on more diverse progressive elements, both instrumentally and songwriting-wise, there is a genuine feeling of a story unfolding and of the listener taking a journey with the band throughout the tale. As a single, forty-minute track, there is always a danger of either being too monolithic or too complicated, but repeating motifs ensure the listener remains connected and the track has a feeling of consistency, whilst still driving itself forward. The actual concept itself is a pretty bonkers sci-fi story, but that isn't really the point.

In truth Crimson isn't overly proggy and this is still, at its heart, a melodic death metal album, but the gentle, reflective moments, complete with those impressively recognisable Mikael Akerfeldt clean vocals and the gothic interjections that sound like Andrew Eldritch is guesting, provide a satisfying contrast to the death metal riffs. Technically the performances are great, and the songwriting is not a sterile exercise in tech-death precision, but is warm, human and relatable. This is one of the most enjoyable progressive metal albums I have heard, with enough hooks to make even a forty-minute track memorable, enough riffs to satisfy that underlying death metal craving and contrasting tonal shifts via the use of disparate elements from outside of metal to make it a more emotionally engaging listen.

This was a pretty big thing when it came out twenty-odd years ago and Mastodon were touted all over the metal mags as the next big thing, except that, unlike most of the early 2000s metal press darlings, their music didn't suck. They took the abrasive anger and aggression of sludge metal and steerred it in a progressive direction, which gave it a much more technical edge. At this stage, this isn't fully blown progressive metal, it is still identifiably sludge metal with a guitar sound well familiar to fans of bands like Crowbar and the angry, shouted, hardcore-derived vocals we are used to. Yet, I am fairly sure, that sludge metal concept albums were fairly rare, unless they were about the misery and desperation of a life of drug addiction and poverty, certainly I can't recall any that were based on classic literature such as Herman Melville's Moby Dick, which is exactly what Leviathan is. Sum total is an intelligent, technically proficient, muscular and aggressive-sounding, remarkably ambitiously-written entry into sludge metal history that ultimately heralded in a new era for the genre, but which has rarely been bettered.

Cynic's Focus is known by many as a progressive tech-death classic, and I had that same thought when I was listening to that album 5 years before this review. Although I enjoyed this album a lot back then, I seem to have distanced from it not too long after. As I grow older (age 26 right now to be exact), I'm really losing touch with the more jazz-infused prog-metal, though my break from death metal was another reason why I fell out of love with this album.

As I revisit Cynic's 1993 debut, I can still hear its amazing uniqueness! Many of the members have started out in death metal bands, appearing in at least one album by Death, Master, and Monstrosity. Cynic had the idea of blending death metal with jazzy prog, which has also been done by Atheist back then. The best moments of Focus come in their more spacey moments as opposed to when they just go all-out tech-death. A lot of the power comes from the rhythm section, with the mystical bass of Sean Malone and the dexterous drumming of Sean Reinert (RIP the two Seans).

The album starts with the fantastic opening track "Veil of Maya" which would inspire the name of death/metalcore band Veil of Maya. It's still one of my favorite tracks of the album. Next up, "Celestial Voyage" is a more ambitious track. Deathly riffing and jazz sections sound so great together! "The Eagle Nature" is a more deathly track, having come from one of the demos. Still it's interesting hearing Paul Masvidal's vocoded cleans in contrast with the death growls of Tony Teegarden.

"Sentiment" might just be the best track of the album, maybe one of the best of prog-metal! The best part of it all is the ethereal midsection bridge. The beginning of "I'm But a Wave to..." starts strong, though I feel like the metal riffing kicking in was an abrupt switch after that dreamy drift.

"Uroboric Forms" is another more deathly track from the demos, which is cool but rather different from the rest of the album. Next up, "Textures" is an instrumental that djenty prog-metal band Textures would name themselves after. Lots of Watchtower-infused jazzy brilliance! "How Could I?" is still a great track but the strangest one here, attempting to get all thrashy in the chorus with less than desirable results.

See, 5 years before this review, I loved everything about this album and found the more metallic songs catchy. But now, their attempts at sounding metal in a couple tracks are a bit iffy and that's why a half-star is knocked from my 5-star rating. Still it's quite a classic, with most of the first half still as perfect as ever. Just turn it on and.... FOCUS!

Favorites: "Veil of Maya", "Celestial Voyage", "Sentiment", "Textures"

I've made this discovery and review shortly after doing the same with Cryptopsy's The Unspoken King. Humanity's Last Breath are professionals at brutal tech-deathcore and can execute it better than Cryptopsy could in their flopped-down 2008 album. Humanity's Last Breath's Ashen is one of the darkest heaviest albums of modern metal!

The amount of downtuned riffing and time-signature unorthodoxy can bring Meshuggah and Ion Dissonance to the minds of many listeners. This complex chaos also has the doomy atmosphere of downtempo deathcore and some melody dragged out into haunting levels. If this is what this whole "thall" thing is about, consider me hooked! Lots of violent experimentation make this a true apocalyptic gem.

From the intro, "Blood Spilled" would have you think the band has joined the epic deathcore league led by Lorna Shore and Shadow of Intent. But instead of symphonics, we have the out-of-this-world trench-deep-tuned guitar riffing of Buster Odeholm and Calle Thomér with its ambient crawl. The chorus of "Linger" stomps through, memorable with its blend of brutality and accessibility. Melody and dissonance stab through each other as if they're fencing without those protective suits alongside the rhythms and beats. Complexity makes its leap in "Lifeless, Deathless". While the vocals are always welcome, it can pulverize as an instrumental just as well. The drumming by Klas Blomgren never overtakes the guitarwork. "Withering" also has great flow in the drums and guitars, all leading to a breakdown so simple and ravaging at the same time.

"Instill" has some background choir in great harmony with the tremolos and blasts borrowed from black metal. So much beauty and brutality without having to rely so much on polyrhythms. Then there's more of the intense soundscape of "Labyrinthian" with its grim yet crushing attack. The Meshuggah influences are plain to hear within the destruction of djent and its Stewie Griffin-like brother thall. Chugging like a thall train is "Catastrophize", having some catastrophically memorable downtempo deathcore, from the beat to the breakdown. "Death Spiral" kicks through noise and melody, even inching towards Gojira-like territory of heavy prog-death that isn't highly melodic.

The band continues their breakneck cutthroat action in "Shell". The riffing explodes into hellfire, as different sounds cover sludgy mosh-worthy breakdowns. All in fascinating rhythms! Next track "Passage" has more devastating leads and riffs, leading into another doomy bridge. I have no problem with the synth interlude "Burden", the calm before the final storm... "Bearer" is truly one of the heaviest most apocalyptic tracks of djenty deathcore. A massive f***ing sh*tload of brutality that will take a long time to get over.

Ashen can certainly get Humanity's Last Breath recognized as a band that can make anything dark and brutal. From the cover art to the music including the riffing. It is a soundtrack to the destruction of the universe, all in djenty downtempo deathcore chaos and grace!

Favorites: "Linger", "Lifeless, Deathless", "Instill", "Catastrophize", "Shell", "Bearer"

The texture of The Further Side will not surprise anyone who knows that Nova Collective is a supergroup featuring Haken's Richard Henshall, Between the Buried and Me's bass player Dan Briggs and Cynic drummer Matt Lynch. For the kind of album that The Further Side is, it is performed with the most pin-point of precision. Every piece of this record is deliberate and executed with grace. Production wise, nothing is out of place, Dan's bass work is splendid, the back-and-forth between the guitars and keyboards is well balanced and the drum work is technical, but not overwhelming to the listener.

I would be grossly remised however if I didn't bring up the songwriting, which is so boring and mediocre. The two chordal instruments does allow for Nova Collective to give the impression of something closer to jazz fusion with the textures, but the execution of these forms is uninteresting. There are solos for sure, but more often than not, The Further Side is a unified technical show piece, with modulating tempos, time signatures and styles. This record reminds me of the worst aspects of 2010s Opeth, when they were trying to be like pre-Moving Pictures Rush. But even the earliest Rush albums had decent hooks to latch on to to compliment Alex Lifeson's extended guitar solos. What does The Further Side have besides technical proficiency? 

This is the kind of record that I know that I would have enjoyed if it was in Guitar Hero, like An Endless Sporadic's Magic Machine. But as someone who even less about technical demands in their progressive music, Nova Collective leaves me feeling empty. Of course it's impressive, but who is it meant to impress if not the band members themselves? 

Best Songs: Cascades, State of Flux

This is it, the conclusion of my Blood Incantation marathon.  This is the album that gave me reason to check them out, and I finally have room for them on my albums log as my need to explore other genres made me late to this party.  A death metal album taking influence from the 70's German rock and electronic scene?  For a wacko like me, that's a dream to good to be true.  But what with all the dick-sucking going around for this album, one can't help but wonder, does it live up to the legend, or is it overhyped?

Immediately the prog rock and prog electronic influences are used as key ingredients in the hyperactive death metal, but the album also makes a point of switching genres mid-song from death metal to prog rock two minutes into Stargate Pt. 1.  I have to admit, while the instrumentation was beyond magnificent, rivaling the best aspects of their incredible debut, the sudden genre switch was a little jarring.  I would've preferred a little more buildup and a little more death in the beginning.  Was this a bad omen, or would I learn to accept that after hearing the rest of the album?  Stargate Pt. 2 was an intriguing and powerful prog electronic track that recalled all the best aspects of Tangerine Dream and Vangelis while remaining a Blood Incantation song, proving that they've mastered the art of electronics after having struggled so much with it on their previous ambient EP, Timewave Zero.  In the last two minutes, it carefully turns into a prog rock song with some beautiful Tullian flute.  Even the last bit of death metal feels pretty naturally handled.  Pt. 3 makes for some fantastic death metal in both technique and production.  There's this middle section of acoustic guitars mimicking the worldbeat vibes of The Tea Party, but it doesn't last long enough, unfortunately.  And some of the electronics that make the album so unique are present at the end, but not for long.

The next epic, the three part Message, begins with a more upbeat, melodic and almost alternative take on death metal, one that recalls the noisy but anthemic and somewhat aquatic atmospheres of Biomech.  But after 50 seconds, they switch back to the same old death metal.  Thankfully, the extremities are met at a capacity I have only ever dreamed about!  They go back to the original format after another 50 seconds or so, which is an interesting take and makes me glad there's more of that new sound involved. But once again, the standard but impressive death metal sound overtakes the balance.  I mean, they're playing some excellent riffs that make me wanna rip my shirt off and fly into the sun with a bottle of whiskey, but shouldn't they take the time to really expand on the new tricks?  Part 2 goes right into the prog rock, pulled right out of the 70's British scene with surprisingly authentic melodies that blend with the death sound on occasion.  It even has vocals that sound way too much like Roger Waters.  But if they could do that all along, then they SHOULD'VE used them a little more in previous tracks to expand on the various tricks they were trying to play.  Still, this one revived both the Pink Floyd prog and the more conventional kind of prog in one go while maintaining the atmospheric strengths of previous Blood Incantation albums.

And then... Part 3 took me by 100% surprise by introducing itself with a power metal riff of all things.  It has a tendency to switch things around though, as, once again, the power metal was not lived up to.  But it DID do an excellent job of maintaining many of the past sounds and tricks at a reasonable balance beyond that while delivering on of their best epics since Vitrification.  This one is easily the most epic-feeling song on the album, recalling the whole spirit of the band and its improved sense of effects and reverberations, as well as Faulk's wonderful drumming.  This song is also an excellent example of how our two guitarists have impeccable synchronization.  All is a relatively perfect harmony until in fades into aquatic sound effects, bringing our epic to a close.

This also closes my epic adventure in the Blood Incantation catalog.  What with this genre-tagging including space rock and Berlin school, I was stunned that a death metal album was finally attempting these things.  It's been 30 years since Emperor put synths in black metal, so an album like this is way late.  However, was it perfect?  While I admire a band for trying to reinvent the genre, there were some areas where the unique tricks and extra genre choices needed a little more balance.  If they fix that on the next album, you may end up having the greatest death metal album in the world.

97

Although I've heard largely raw praise for this sophomore album by Blood Incantation, there's an ongoing debate as to whether or not this is an improvement over Starspawn.  My immediate thought was that it was due to a change in pace.  Normally, I like changes in pace, but only if the artist keeps the established identity as well.  I had no way of knowing which would reign supreme on this album.

Its opener, Slave Species of the Gods, is absolutely brutal and a little sludgy.  This was obviously going to be a deeper album that before, and I appreciated the stronger focus on heaviness and progression, especially since this means they're attempting a new direction.  However, despite all the skill they put into it, this is a more generic song on the whole.  On Starspawn, the band took all familiar traits of death and maximized the full potential.  There seems to be less trickery on this opener, so hopefully that would be remedied on later tracks.  I had an 18-minute closer to look forward to, after all.  The Giza Power Plant was seven minutes, which would normally leave a lot of room for some new tricks.  But the most it did was switch from a brutal song to a slower and more ambient one for four minutes before ending on the brutal note.  Now this had incredible moments about it, but it was largely boasting things that were done with more creativity on Starspawn.  Track 3, Inner Paths (To Outer Space), goes into a very deep and sombre opening before slowly emerging as a prog metal track in a similar vein to the folk track on Star Spawn, Meticulous Soul Devourment.  Taking MSD's place as the "vibe" track, this one also includes drowned dialogues like in the cut ambient track from Live Vetrification before fully crossing the bridge into prog death metal, and then finally into brutal death, never once losing sight of the balance, pacing or atmosphere, feeling right at home with Giza Power Plant and artistically contradicting Slave Species of the Gods.  Obviously, the intro song is totally outshined, and would've been more properly placed as the second track.

Now it was time for the majesty.  I had full faith that Blood Incantation would amaze me with another nearly 20-minute epic of raw art, but kept the idea of monotony in mind due to the poorly placed intro song's generic behavior.  It was obvious from the start that the heaviness had been improved on.  This is probably their heaviest and most thunderous track, or at least it starts that way.  And let me tell you, it's very good.  They put together something that remains brutal and challenging throughout.  A few surprises wait throughout the eighteen minutes, but that's only a few.  Otherwise, this is simply a great effort technically and production-wise, but I was hoping for something mindblowing.

This sophomore, in my opinion, is a little more generic.  It carries some of the Starspawn weirdness and a few little traces of what's to come on their legendary third album, but otherwise, I'll say it's simply a great way to introduce death metal to someone.  Another great effort on their part, but not five-stars.  Honestly, I wonder if they were simply trying to sell or to get noticed?  They didn't betray their talents, but much of the identity was gone.

93, just like Live Vitrification.

I'm extraordinarily happy that I finally get to catch up on Blood Incantation.  Checking out all of their earlier demos and EP's that I could find, I was flat-out excited for their debut album, Starspawn, which was the album that put them on the metal map.  At first I didn't pay a lot of attention to them, as death isn't necessarily my favorite metal subgenre and RYM year chart ratings are practically dominated by metalheads.  Hell, right now the number one album for 2025 is the new Deafheaven.  However, to be able to say that I am the first to write a Metal Academy review for this album after having been released for almost ten years seems almost impossible to me, so I'll just roll with it and accept the honor.  But before I review it, lemme fill you in on something the band confirmed about this debut album: "Everything was done live with tubes, tape, etc – there are no triggers, click-tracks or quantized anything on the recording, no cut & paste and very few punch-ins."

A minute and a half in and I was already wide-eyed.  Blood Incantation struggled to find their sound and the proper structural techniques needed to really standout for a while, but this album seemed to make a point of harmony in the whole band pretty damn early on.  This one is CREEPY.  Right on the opening 13-minute epic (super bold move for a 35-minute album with five tracks), the band makes their their darkest release so far, ripping the very idea of riffs in half with some incredible and very disturbing tricks that suck you right into a psychedelic black hole and then, as Sarris would say, "tears through it like tissue paper."  It's not even a new step forward in death metal by any means whatsoever.  This is the standard, straightforward death metal sound with masterful progressive behavior.  The build-up issues and unpredictability of their previous EP, Interdimensional Extinction, are fixed to perfection, made seemingly effortless, like if Fix-It Felix just lightly struck his golden magic hammer to it.  The outstanding production works in tandem with Reidl's and Kolontyrsky's guitars.  Although everyone is working at max power, the show stealers are the two guitarists.  There's a beautiful presence their just forged from dark matter, driving the amazing, disturbing and sometimes psychedelic guitar work through the production's incredible ambiance.  I may even go as far as to say that this became my new favorite death metal track.

Next was Choaplasm, and I began it immediately thinking to myself, "There's no way they're going to top that first track, right?  But they can at least come close with the upcoming songs."  This one's more metronomical, and a bit more brutal and effectively primitive because of it.  It's also much more vocal, allowing our singer Riedl to make the most of the verses he sings and the ambient textures created through the production.  At a short five minutes, this song did a great job of continuing the presence of the previous song with a more primitive approach.  The real challenge was how to put a spin on things with track three, Hidden Species (ViB Pt. II).  Now as it's a part two, does that mean the wild balance of varying elements becomes the determining factor in yet another song, hinting at repetition?  Yes and no.  This song shoves astral ambiance down your throat without getting in the way of the rest of the band doing its job while giving Riegl plenty of time to sing.  It appears that the dark ambient genre had a say in the atmospheric choices of this song, allowing drawn out reverb to take over the atmosphere and leaving drummer Isaac Faulk to take over with his incredible jazz timing.

Track four kicks off with dark ambient noise backgrounds, combining noise with winds in a familiar yet skillful and chilling way.  I was a bit nervous about this song due to RYM tagging it a dark folk song, but the way they introduce the song and the sound effect choices they made work perfectly with the darker, sombre tones.  It was the right thing to do to include such a creepy yet somewhat metallic folk track on an album that occasionally played with sound effects and death doom.  And appropriately after the winds have died down, the final track, the title track, slams you with extreme death metal like you're a contestant on Takeshi's Castle.  Right in the face.  When I think about it, going for this type of extreme may have been done before as early as the earliest, but stylistically, it's the proper way to end the album: raw, unhinged, unadulterated extreme metal.  It's the same way Metallica began Ride the Lightning.  This doesn't stop the band from being Blood Incantation.  This song goes into unconventional riffs and repetitive progression in a way that says, "you've seen the weirder side of us.  Now that you know who and what we are, have some traditional death, on the house."

My metal fanboyism considered the possibility that this would be a flawless debut, but I didn't think it was actually going to happen.  It has been a long time since I've had this much fun with a death metal album.  The band masters all the familiar essentials like they're bringing them to the stage for the first time in human history.  Starspawn serves as a focused yet beautifully unhinged reminder that traditional death metal is not dead, and can still be among the best of the best even 40 years after its inception.

I'm no stranger to instrumental progressive metal. I've listened to bands and artists like Liquid Tension Experiment, Animals as Leaders, Plini, and Scale the Summit. The question is, what is the earliest progressive metal band to be solely instrumental? This might be debatable, but Kong might just be the king! Actually they mix the genre with industrial metal, though that's beside the point.

Their 1990 debut Mute Poet Vocalizer came out at a time when instrumental progressive metal was barely a thing, much less progressive industrial metal. While the album became d*mn elusive after all its copies were bought, well, thank greatness for YouTube and Spotify! Anyway, barely anything disappoints me in this offering.

"Hok" is a great start, with everything set up by the groovy audible bass by Mark Drillich. "Fair" has a fairly mellow pace. It's another great track, but nothing too special worth noting. "P.R.O.K.O.V." has cool riffing by guitar duo Aldo Sprenger and Dirk de Vries. While some might consider the circus audio sample odd, it helps make that track one of my favorites here. "7/8" is all about the 7/8 time signature.

"200 Max" takes things to more quadrophonic levels, making it another unique highlight. "Cramp" is the longest track but also the weakest. It's still good though, and the album's rating isn't affected. "Quiet!" is so unique with different layers, exemplifying the band's progressive side.

"2:14" is another progressive instrumental that sounds good but not the best. "Cows" is another true highlight. There's barely anything anyone in metal had ever tried before from the strange guitar to the effective keyboards and great bass. An intense instrumental that should be remembered! The CD edition has two bonus track, starting with "Base", slow while gradually heavy. "Hop" really hops around for an ending track, with some fun drumming by Rob Smits.

Mute Poet Vocalizer might just be an early pioneering album of both instrumental progressive metal and progressive industrial metal. It's so unique and sounds fresh for an early 90s albums. Go get it, Infinite/Sphere members!

Favorites: "Hok", "P.R.O.K.O.V.", "200 Max", "Quiet!", "Cows", "Hop"

In the Woods… have always just ‘been there’. Floating around the periphery of my metal music awareness for years, with me rarely paying them any attention. The progressive tag is usually more than ample to put me off things but given this was dual tagged with gothic metal (another one of my areas of limited interest) and I am trying to broaden my horizons and capture as much new stuff in The Fallen as I can this year, I broke form and went for it. I am glad I did.

What is clear, even as a relative newbie to the band, is that these fellas know how to write songs. There’s obvious depth to all the tracks on this album. Emotional and compositional depth is present in equal amounts, and as a result Otra is an incredibly rich and rewarding album to listen to. There is the mournful atmosphere you would associate with the gothic tag, but there is also the sense of mystery, of some riddle that runs in secret through the album, like there’s always something more to come on each track. It is this narrative of intrigue that keeps my attention on the album from start to finish. This intensity by no means impinges on the overall relaxed vibes that come off the record as it plays. The vocals have a soothing monotone to them, a handsome charm almost. Even on the death doom sounding section of ‘The Crimson Crown’, the menacing vocals are tempered by most of the track being sung in a clean and sultry tone.

I would liken the connection I feel with this record to the same spontaneous response I had to Katatonia’s The Fall of Hearts. I can sense the dark soul behind the music, its presence obvious throughout. As I was ploughing through other releases this week, I got to The Maneating Tree’s latest album, and it just underlined the difference in quality in that Otra is interesting to listen to from the off. Otra lacks much in the way of a generic pigeon-hole to be sat in and as such, all bets are off. The juxtapose of styles somehow remains unintrusive over seven tracks that all seem to flow with an underlying air of calm. Hear the black metal vocals creep into tracks like ‘Things You Shouldn’t Know’ and ‘The Wandering Deity’ whilst enjoying vibrant progressive vibes in some of the guitar at the same time.

For all its free-flowing nature, there is no sense of reckless abandon in the playing. At no point do I feel the need to hit the skip button, which on an album that is infused with gothic and progressive tropes is no mean feat really. There are clunky moments still. ‘A Misrepresentation of I’ stands out for the failed attempt to shoehorn that title into the chorus (it sounds like ‘a misreputation of I’) but it is more than forgivable given it probably is my only negative out of over forty-five minutes of music.

Having heard a number of random tracks over the years, Anubis Gate are a band I’ve always held in pretty high regard. Typical of most European progressive metal bands, they’re not very well known, but despite remaining mostly off the grid, they’ve put out an impressive array of high-quality albums. Keen to delve properly into their discography, 2004’s debut, ‘Purification’, seemed like the best place to start.

Except it probably wasn’t.

Sadly, to my surprise, I’ve found this a very hard album to get into. I’ve had it in my playlist for what feels like forever, and I just can’t seem to really remember anything from it. Every time I play it I zone out. The playing is fantastic and there are a few rather tasty guitar riffs, likewise, vocalist Torben Askholm has a great voice that really suits the music and its themes. But the overall writing is just so dull, all the songs seem to mesh together and just plod along at the same pace, all sounding similar to each other and thus, making it impossible to really distinguish most of them.

If I had to pick out any highlights, ‘In the Comfort of Darkness’, ‘Hypernosis’ and ‘Downward Spiral’ are all decent enough, but even then, I don’t think I could sit and listen to them all the way through without losing interest. And it’s a shame, because I know this band are capable of much better than this. But overall, ‘Purification’ just does nothing for me, and it’s fortunate that I’m already familiar with some of the bands later material, otherwise, had this been my first exposure to them, I probably wouldn’t bother coming back.

I will confess to have been on the fence with The Great Old Ones for some time. I do not recall ever sitting down and giving anything of theirs to date a critical listen before spending a few hours with Kadath though, so I am unsure where this standoffishness came from. Picking up on some of the references to latter day, more progressive Enslaved did have something to do with it, I think. I am not progressive metal’s biggest fan, and so the prospect of having to follow such a trail (or trial as I often find progressive metal to be) did not bode well. However, on reflection, having listened through to the record multiple times, the progressive elements are a lot more subtle than I first feared. They represent a well balanced and unintrusive character in proceedings. Even at its most obvious the progression is not complex or jarring and so I find it more than palatable.

The fact is that I enjoy Kadath a lot more than I was expecting to. I have gotten into the habit of getting in bed at a reasonable hour and taking some bedtime listening with me. Kadath was my bedtime listen last night, and I completed a further run through this morning before work. These two more critical listens, done without the distractions of screens or work, proved to be key in my development of understanding the record better. For a start, it struck me that the three guitars are used intelligently and are not allowed to overwhelm tracks. In fact, they fill up space that would otherwise go unused, in the sense that if two of them are maintain the often-powerful rhythm of many tracks then melodies and atmospherics are done by the third guitar in the background, on the periphery of the main drivers of tracks or in the upper stratosphere of some of the more expansive moments on songs. Cleverly, they do this without creating any distractions. All three instruments fit together so well.

I hear little, if not any, synths or keys on the album either. Considering the nature of the music, this is surprising. The fact that I can be entertained by a fifteen-minute instrumental track, that I would normally hate, is testimony to how good the band are at creating atmosphere and tension using just strings and percussion. The only disappointment around the instrumental is the track prior to it. ‘The Gathering’ must hold some purpose from a narrative perspective as it does little else other than act as an intro for the instrumental. I just find this an odd arrangement choice.

Going back to that earlier Enslaved comparison. If I benchmark Heimdal against Kadath, then it is the latter that I hold in much higher regard. The comparison is most definitely relevant and justified but the French outfit here are far more entertaining and stronger sounding (which I grant is largely down to the third guitar). ‘In the Mouth of Madness’ has an almost epic heavy metal feel to the opening of the song and chaotic riffs of ‘Those from Ulthar’ are backed by wonderful percussion and those grim vocals superbly. This is top three material in the black metal release of the year so far and may supplant Grima for second spot with further listens. I should have perhaps taken more notice of TGOO before now.

I’ve had this album on my playlist for quite a while now, mainly because I just couldn’t think of anything in particular to say about it! ‘Cloudscape’ is the self-titled debut album by Swedish progressive metal band, uh, Cloudscape. Released in 2004, this sounds very typical of bands in this genre, but with an emphasis on strong writing, melody, and catchy hooks.

The band members are all excellent musicians, and I particularly love the blending of melodic keyboards and heavy, crunchy guitars. And this album has that in abundance, as well as powerful vocals, interesting lyrics, and a fantastic production. There isn’t anything overly unique about this band, but that’s fine. Not every album needs to reinvent the wheel. Sometimes good music just speaks for itself.

Admittedly, with that said, at one hour in duration, the album does drag a little at times, with some of the songs sounding kind of similar to one another. But on the other hand, some of them are absolutely fantastic! ‘As the Light Leads the Way’, ‘Witching Hour’, ‘Everyday is Up to You’, ‘Under Fire’, ‘Out of the Shadows’ and ‘Slave’ are all amazingly well written songs, and should be more than enough to satisfy any progressive metal fan.

If they have achieved nothing else, Pothamus have introduced me to a new instrument in the Shruthi Box, an instrument predominantly used in Indian classical music.  It is deployed here on single, ‘Ykavus’ where it adds a droning presence to proceedings.  Fortunately, this is not my only take from Abur, although it is a distance away from my usual diet, it is still a very entertaining record.  There is still some familiar features to compare with the backdrop of my usual listening habits, but the duration of this record in the main is time spent away from my comfort zone.  The sludge tag it has on Metal Academy has some relevance most certainly, but it is the post-metal tag that fits the majority of the record better.  On top of this though, there are those hints of drone as well as a sense of Middle Eastern infusion.

After a few listens through to Abur with the tribal percussion and dense atmospheres, coupled with echoing chants and expansive keys, it is obvious that a lot of thought has gone into the record.  Whilst it might not have an immediate argument for frequent revisits (this very much a mood record) it is a very professional sounding yet artistically endearing album.  Where the band are most definitely skilled is in the ability to combine multiple elements on one track, not necessarily blending them, just very capable at arranging them.  The title track absolutely feeds off the atmospherics before breaking off into some of the denser sludge content present on the album.  When in full flow, the atmosphere here is reminiscent of an Akhlys album, minus the horror of course.

I cannot fight the haunting and ethereal charms of Abur.  It is such an accomplished sounding album that is in many ways a shame that it only fits a more serious mood.  I will come back to this album when I feel enclosed or suffocated by my existence.  When I am sensing my boundaries are the same four walls far too often and I need reminding of how far outside of my comfort zone I can actually go.  This is where Pothamus will come into their own for me, occupying the same ‘open when needed space’ as Russian Circles, Wardruna and Forndom.

Well I got this one wrong didn't I?

Returning to their atmospheric black metal form on records like Sunbather and Ordinary Corrupt Human Love, Deafheaven make their harrowing return in 2025. I heavily criticized the bands previous album, Infinite Granite, for axing its heavier sounds for its more post-rock style. Not because they were bad, instead because Deafheaven's principal feature was the uplifting nature of their black metal; a genre that is well known for being the antithesis of uplifting. I also said that I figured that this would be the direction that Deafheaven would continue down the foreseeable future. 

Well that didn't happen. Lonely People With Power is a monstrous album in both its length as well as intensity. Like previous albums, Deafheaven are not going to overwhelm the listener with a typical black metal display of relentless tremolo picking, blast beats, and vocal screeching for just over an hour. The album is filled with atmospheric breaks and interludes, the metal portions are diversified with half-time style changes and more melodic guitar leads, as well as clean vocals. And as someone who cares very much about padding on an album, this record does not falter. There may be sections that could have been trimmed down (such as the intro on "Winona"), but overall, Lonely People With Power has enough diversity to keep it interesting, but without a lot of the self indulgence that plagues modern progressive metal. 

The sound of this record is well done also. This is the first Deafheaven album published through Roadrunner Records. Now I've always viewed this record label as the "Gentlemen's Club" of metal record labels given their reputation. And even though Roadrunner is not particularly well known for its publication of black metal albums, Deafheaven fit right in. The albums have always sounded more mature and it continues here with the mixing. George Clarke's shrieking is still heavily condensed behind a wall-of-sound and acts more as a secondary instrument on songs like "Heathen" and it does work a little better than expected. Some albums like this put heavy emphasis on their vocals to make a statement, but here the vocals are more metaphoric in presentation and you don't really need them to get the full experience of this record.

All of that being said however, it's hard for me to enjoy Lonely People With Power more because it feels like Deafheaven are sinking into the status quo of modern atmospheric black metal. As I mentioned off the top of this review, Deafheaven are known for their uplifting textures and sharper tone quality. What I noticed here is that the tone quality has been quietly flattened; way more minor key signatures and chordal progressions, and more walloping foundational grooves. And even though the songwriting on this album is very good, it doesn't take long to realize that Deafheaven are seceding themselves to Alcest in that regard, when it was only a few short years ago their positions were reversed.

This is probably a nitpicky criticism of Lonely People With Power from me, but I think it is very important. The reason I constantly return to tracks like "Dream House" and "Canary Yellow" all of these years later is because of how unique they are within the black metal framework, and Deafheaven did this without incorporating a folk gimmick like Panopticon or Saor. Now, without that bottom line of "this is Deafheaven" for most of this album (only really saved by the final two tracks), it becomes harder to find songs here that are truly timeless. We shall see what the future brings but for now, Lonely People With Power  is a good record and deserving of its early praise, but it should be a lot better.

Best Songs: Magnolia, The Garden Route, Body Behavior, Winona

It's sad when a grand discovery comes with tragedy. A month ago as of this review, vocalist/keyboardist Sindre Nedland passed away from cancer. I had just encountered his vocals for the first time that are just out of this world. RIP...

Solemn is the latest offering in the 20-year career of Norwegian blackened progressive death metal band In Vain, and it's a monolith of triumph! The compositional writing is so unique and diverse. Besides the now-gone-from-the-band vocal duo of Sindre Nedland and Andreas Frigstad, guitarist Johnar Håland shines with his epic guitarwork. And the other half of the band also have the talent to help make this powerful masterpiece.

"Shadows Flap Their Black Wings" bursts in with riffing energy and deathly growls in the verses. Then the chorus drifts through clean melody in the guitar leads and singing. "To the Gallows" has extreme aggression in the music and vocals, while the cleans are still around to balance out the strength. A melodic calm surrounding the heavy storm! Then "Season of Unrest" has some slow bass in the verses while marching into both heaviness and melody. With deathly darkness comes melodic light, again proven in the music and lyrics. I love the beautiful bridge that comes with saxophone similar to the Norwegian Shining.

"At the Going Down of the Sun" is long, strong, and symphonic, once again including a melodic chorus in this otherwise dark heavy structure. "Where the Winds Meet" is where the two sides greatly battle it all out. The wall between the two sides is penetrated by the aggression from one side and the melody from the other, before the wall breaks down in a towering chorus. "Beyond the Pale" has more of the heaviness and growls before the fantastic guitar melodies and clean vocals soar through the skies.

"Blood Makes the Grass Grow" is the only track that's under 6 minutes and continues to blend the extreme and clean sides well. "Eternal Waves" has more melody rising from the dark ashes, moving things along in the chorus and bridge. "Watch for Me on the Mountain" is a strong clean swansong for the blissful harmonies of Sindre. Again, RIP...

Solemn is an epic progressive journey to help tear down the walls of conventionality. Deathly riffs and beautiful melodies make an intense blend of power and thunder. The fire and fury is brightened by melody and harmony and clean choruses soar through. Growls and cleans battle each other then make peace for coexistence. For anyone wanting a gem that's both ethereal and brutal at the same time, this is your Solemn hour!

Favorites: "To the Gallows", "Season of Unrest", "Where the Winds Meet", "Beyond the Pale", "Watch for Me on the Mountain"

The most recent album from Nordic progressive death metallers In Vain is quite the variety of sounds isn't it? While the album certainly retains its progressive tag throughout the hour runtime, the directions it takes to get there is quite varied. I really enjoyed the inclusion of a full brass section during the the albums highlight moments, such as "Eternal Waves" and "Shadows Flap their Black Wings". For an album that uses such a booming foundation, In Vain are not scared to embellish Solemn with bright/sharp tones; it gives the album a sense of direction that is not as dominant on other similar sounding death metal albums. The vocal styles change on a whim from Steven Wilson-esque hushed vocals, towering Einar Solberg cleans (complete with harmonic counterpoint), then alternating the rest of the time between low death gutturals and the occasional death metal screech. This all sounds like a lot to digest when you see it written down on a screen, but I promise that it is not as difficult of an album than I am describing it. In Vain have a skill of developing their foundation instead of becoming a new band on every track. It is also helped by the record not being quite extreme. At its core, Solemn is a death doom album with the occasional blast beat and tremolo guitar riff. This is what you might get if Wilderun and early Katatonia had a baby. The technique is solid too; granted the production might have a couple of minor hiccups here and there, Solemn remains incredibly consistent with its sound engineering. If anything, I think that the guitar harmonies might be a little too subdued throughout. I'm surprised it took me as long as it did to come around on this record, but I'm sure glad I did.

Best Songs: Shadows Flap their Black Wings, Season of Unrest, At the Going Down of the Sun, Beyond the Pale, Eternal Waves

‘Time Requiem’ is the 2002 self-titled debut album by Swedish progressive power metal band, Time Requiem. Formed by keyboard player Richard Andersson, the band plays a style very typical of progressive metal, with a strong neoclassical influence, and an emphasis on powerful vocals and fantasy-themed lyrics.

The most prominent aspect of Time Requiem’s music is shredding, and it comes in boatloads! Andersson and guitarist Magnus Nordh are absolute beasts on their instruments, furiously ripping up the chromatic scale at every opportunity. It makes for some lavishly flavoured riffs and colourful solos, but sadly it does get a little repetitive after a while.

Most of the songs are very strong and well-written, but also rely on similar tropes. At times, they sound very reminiscent of other bands, such as Symphony X, Dream Theater and Stratovarius. But if you can accept a group wearing its influences on its sleeves, then you might just enjoy tracks such as ‘Watching the Tower of Skies’, ‘Time Requiem’, ‘Milagros Charm’, ‘Visions of New Dawn’, ‘The Aphorism’ and the absolutely psychotic instrumental, ‘Brutal Mentor’.

‘Time Requiem’ can be challenging to sit through in one go, especially if you’re not keen on the sheer technicality of the music, but perseverance and repeated listens can be rewarding. Over time, the album grew on me, and while the band offers nothing new or unique, this is a very solid debut, and I’m excited to hear where things will go with future releases.

Wren is one of the most unmetal sounding band names that could be picked really. One step up from Sparrow or Dunnock I suppose but still leans heavily on the lame side of the bird world. Whilst it may not be the most threatening name in the world metal, Wren does fit the atmospheric sludge of this London four piece as they explore a vast and dense landscape across their third album, Black Rain Falls. Foraging through punishingly slow riffs, flitting between ethereal density and atmospheric ecosystems and nesting in the rafters of the solid structures of the seven tracks on offer.

Describing themselves as a ‘blackened noise band’ (at least according to the Spotify bio anyway) could not be further from the truth, as there is no noisy element to this record. The agonising pace of album highlight, ‘Toil in the Undergrowth’ is testimony to how captivating atmospheric sludge is. By the time the first riff lands we are three minutes into the track. Those hoarse and tormented vocals heralding the arrival of the track proper perfectly as that riff crashes in behind them. This album is full of Neurosis and Isis influences, and as a result had me hooked from the off. Songs feel like they are expanding even though there is little in the way of variation to suggest this is naturally the case. Any progression is deliberate and measured, feeling organic and unforced.

Tracks often end feeling like very little has happened in the way of change once the established format has been engineered, but still, I get sense of total satisfaction from the majority of what is on offer here. The interlude in the middle of the record feels a bit out of place though, even though it does in some ways introduce the dense, bassy opening of ‘Metric of Grief' nicely. Album closer ‘Scorched Hinds’ is one of the more obvious Neurosis sounding tracks, with its shifts and swells accompanied by chiming guitar notes that remind me of Kowloon Walled City. There is a lot to like in the simplicity of Black Rain Falls and it stands out as one of my happier new finds in The Fallen clan of late.

A band's sophomore album is sometimes a home-run or a foul. Some fans want more improvement, while others don't want drastic experimentation. Since their debut Edge of the Obscure was released 6 years before this album, they must've really been trying to find that right balance.

Among the Amorphous continues the tech-death-infused melodic cyber metal sound of their debut, this time it's more progressive. The conceptual tale from the debut is still going, here in a different world. The artwork and music videos greatly capture that concept. If you're up for some apocalyptic future kaiju battles that is kinda like Godzilla vs. Kong gone Star Wars, or weird assemblies of those monsters, you don't wanna miss this saga!

The opening track "Spiral into Existence" sets the dark tone as synths and vocals spike through the metal instrumentation. "Deceptive Signal" is a true highlight, underrated otherworldly djenty cyber metal for those who want similar music to Mnemic. The brutal verses go well with the epic chorus. Another battle-ready standout is "Sins of the Mechanical". Although Sybreed, Mnemic, and Raunchy haven't released an actual album in years, The Interbeing has made up for that and gotten fans of those earlier bands f***ing mind-blown. There's even some atmospheric meat here! "Borderline Human" has more of the industrial or Circle of Dust and the hardcore progressiveness of Erra.

"Purge the Deviant" has heavy riffing and a slightly longer track length than any of the band's other tracks, both perfect for a sci-fi battle. "Cellular Synergy" is an atmospheric interlude with female spoken vocals. "Enigmatic Circuits" has some electronic melody that can also be found in The Word Alive.

Then we have the impressive "Pinnacle of the Strain". The great screaming vocals fit the song well in amazing goodness. Truly this is Meshuggah-inspired cyber metal! With the album nearing its end, we have the industrial "Sum of Singularity", borrowing some drums and synths from Crossfaith. It has definitely foreshadowed the sound of their next album Icon of the Hopeless, and a great way to end this one. Well, after the apocalyptic title outro.

When I write my own books, I see it as a labor of love; taking a couple or so years to complete a book but it is all worth it. That must be what The Interbeing was going for when they worked on Among the Amorphous in a slow steady pace. And it's worth keeping fans around, old and new!

Favorites: "Deceptive Signal", "Sins of the Mechanical", "Purge the Deviant", "Pinnacle of the Strain", "Sum of Singularity"

The Black Mages is an instrumental progressive metal band formed by Japanese composer Nobuo Uematsu, renowned for his work on the Final Fantasy video games. While I’ve never actually played the games, I can appreciate video game music, and consider the Black Mages’ first album an absolute masterpiece. Their second album was a very strong follow-up, and so it’s unfortunate that their third album falls a bit flat.

Released in 2008, Uematsu and his motley crew had 21 years of video game lineage to take inspiration from, but with their third release, ‘Darkness and Starlight’, I think it just goes to show that what works as background music in a video game doesn’t necessarily work as a metal song.

And it’s a shame, because in theory, this isn’t much different than the previous two albums, except the magic just isn’t there anymore. The excitement and energy that made the first album so fantastic seems missing, like they’re just going through the motions now.

The playing and production, as always, is exceptional, and there’s a few highlights, including ‘Opening: Bombing Mission’, ‘Neo Exdeath’, ‘Distant Worlds’, ‘Assault On the Silver Dragon’ and closing track ‘Life (in Memory of Keiten)’, but in all honesty, these songs are still fairly passable, and I’d much rather just listen to either of the previous two records. In addition, the only vocals on this album feature in the title track, a 15-minute Japanese prog metal opera, which, I might add, is one of the most horrendously boring and long-winded songs I think I’ve ever heard.

Overall, this isn’t a terrible album, but I really think at this point the band has used up all the best ideas from the franchise, and since they called it a day shortly after, I think they knew that too.