Zero Hour : "No Man's Land"

I've been into these guys for some time. They are one of the few progressive metal bands from the Queensrÿche school of thought that are not lost in the melodrama. Queensrÿche is one of my favorite metal bands from the 80s, but I don't need anyone else to sound like them or Fate's Warning, for that matter, which is the problem most bands in this genre run into. These guys are influenced by both of those bands but not defined by them. The melodic vocals are emotive and dramatic, but work with what is going on here. They are not just Journey fucking with odd time signatures and trying to cram a solo into every nook and cranny. 

Granted, this album is 2 thirteen-minute songs, and the instrumental versions of those songs. Add this to the fact  I am not a fan of long songs, but here we are. Things don't get heavy until five minutes into the first song. He even unleashes a little of the falsetto yodel. The syncopated riff that dominates the metal half of the song is effective. At the nine and a half minute mark, they begin to get somewhat chaotic with this as it drones on a bit and puts the weight on the vocals to carry the song. It is impressive playing no matter how you spin it , though some might think it's pretentious despite the very tasteful jazzy section.  At 56 the singer's voice has held up pretty well. 

The second song finds them kicking in with metal from the jump. They fight off the ghosts of the 80s that tend to haunt these kinds of bands, thanks to the clean production. They hold a tension with the main riff that flows through the song. The technical aspects of what they do are not pure masturbatory excess, as they find a groove amid this storm. Three minutes in andd it feels like the vocal melodies are not as catchy as what they did in the first song, as it's harder for them to lock in. When they are a more atmospheric texture, it works pretty well, as they have to ride the wave of riffage. When he reaches up for higher notes from his chest register, the age of his tenor shows more of it rough edges, but it is generally produced in a manner that smooths this over.

A piano line brings a more Dream Theater-like feel to things. Yet this is not as flowery a power-ballad tone as what those guys do, thanks in part to the more interesting drumming. I'm not sure about how rocking they started off and then let things lose its momentum; it would have made a better middle section than climax. It's one of the things that Dream Theater does that I hate, and while these guys are way better than Dream Theater, I will give this album an 8.5, since when there are only two 13-minute songs, every minute counts; still, this score makes it an admirable effort and, at the end of the day, still euals and album prog metal fans need to listen to. 

Unteachers : "Under Bright Sadness"

 The dark, sludgey crunch these guys open their album with sets the expectations high, andd aside from the sheer weight of what they are doing, I am not sure they can write a song yet. This is leading me to believe this album is going to have a very Ministry-like sound. The second song finds them letting up on the distortion and allowing a tense groove to flourish, with sung vocals chiming in. It brings Dredg to mind. They drone on this groove as the vocals keep things moving while the band holds static. In the upper register, the vocals are pitchy, and the chorus does not soar as intended. This makes me think they might be the msot popular band at the bar in their zipcode but I am not sure it's going to allow them to stand shoulder to shoulder with my bands like Tool or Opeth Which that level of professionalism in your respective genre is what I am looking for here.

They continue down a more Tool-like vision of prog for 'Housholds of a Cosmic War". Which might be too ambitious for them. The hooky chorus and production are where they seem to be struggling the most. The tenor vocals employed here do not carry the kind of aggression that would sell me on this. "Song of Seven Pillars" confirms a distinct lack of conceptual continuity, resulting a band that throws different things at the wall to see what sticks; this more punk attempt is not it. "Devils Blessed by the Rising Sun" does not help their case in this regard, though it is better than the previous song.

"Last Rites for Lesser Magick" has a much better riff empowering it. Though the vocals come in and ruin it, along with the drummer speeding up. 'The Orb was Only Dist" is less amateurish and flows better; this is the direction they need to lean into. I'm going to go ahead and say the last song does not need to be 11 minutes long, even though at the time I am typing this sentence I am only a minute in. I'm basing this on all the choices they have made leading up to this point. They drag the first part out for four minutes nad then build it into a heavier riff. I was right; it becomes ponderous. I will give this album a 6.5; they just need to keep refining what they do in a manner that clicks best for them, but to impress me with one or two songs is better than hundreds of bands do.

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VEILBURNER : "All That Glimmer is Gloam"

 Not what you would expect from American Black Metal unless you were factoring a band like Worm into the equation, as they are darker and more experimental, owing more to Mayhem, with their angular creep. They do throw blast beats into the first song, but it is already after it has been contrasted with more deliberate drumming. There is a cool unhinged element to what they do. "Oblivion is Yours to Labyrinth" finds the ghastly grumbling of the vocals sounding like their vocalist is losing his mind in the vocal booth. They pick up speed but without going into blast beats here. They flirt with prog a bit here. This can be heard in the chaos that unfolds here. This album is much more experimental than I remember them being. 

Is this album black metal? Well, it is dark so that steers them in that direction. The key here is that the songs are so interesting it does not really matter what direction they lean in genre-wise." Vitriolic  Hiss" has the dissonant riff grooving with syncopated accents. Two mintues in and they have already covered a great deal of ground. Guitar solos are more accents than showcased shredding. The vocals continue to shift through growls and moans. The vocals are really well produced, with effects making the most of the crazed sounds coming from him. It makes the album like a ride through a hsunted house.

You are four songs in before they hit you with blast beats. The vocals are so feral at this point it makes sense. But it's the weakest of the first four songs. In the last minute, things come together thanks to some cool riffs. Then they come at you from the other end of the spectrum with some dark melodic vibes that are more sung over, but the vocals sit back in reverb. Odd electronics also color things to make "Dis Obedient Woe" perhaps the album's best song.They take a more thrashing turn for "Goslave and Blood Mortar". It is ne of the more straight-up metal moments. "A Seance to Specter" works off a more atmospheric weirdness, creating it's throb. This transitions into a more furious burst of black metal and then ebbs back and forth between the two dynamics. 

They are less kind to your ears on"Golgothic Holocaust". They double down on the blast mcnasty here, midway in the drop, down to more of a half time groove that feels darker and heavier. The demonic declarations continue, forming an effective narrative for this album. The title track closes things out. It is more riff-oriented and deliberate, with vocals not sung but holding more purpose in the darker shadow the song casts. I will give this album a 9 and see how it grows on me; it is one of the more original metal albums I've heard in a minute. This drops October 16th on Transcending Obscurity Records. 

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Protest the Hero: "Within"

Something about Canada makes it a breeding ground for prog. This is the band's first album in six years, and once again they fuse prog with a touch of metal core. It has been twenty-one years since I have paid much attention to them.  Higher-pitched, almost power-metal-like, sung vocals counterbalanced lower growled vocals. They brough in a session bassist and drummer for this album, but it flowed really well like everyone had just been rehearsing these songs like old times. "Fishhook" finds them locking into the more upbeat side of the genre that I am not as big a fan of, as it begins to sound like something Devin Townsend might do. You can also hear how they share some common ground with Pain of Salvation's older work.

"Grandfather's Axe" comes at you with a heavier thrashing till the vocals come in, then it takes on a groove, much like the Arise From Worms album; the more proggy elements take away some of the impact that would otherwise make this sound heavier. "The Orchard" is all over the place, the layered vocals are too happy for my taste.'Liberty Spike" works better than the previous song. It's energetic, but the mood is more balanced. The vocals have a little more edge and don't sound as celebratory, even though it is a hectic roller coaster of dynamics. The song ends with some of those more grandiose layers of vocals.

The album closes with the more dramatic bombast of "the Mariner". The guitar waves around things in an unhinged fashion that is not dark. They shift sounds and genres in a more Mr Bungle-like manner, though Dog Fashion Disco might be a better frame of reference.There is less chameleon shape-shifting as their core sound is present, just dialed up in a different direction.There is no denying these guys are talented, they could stand to be a little hooky and darker, but it works well enough for what they do, and fans of this band should be on board, will give this album an 8.5

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Genghis Tron : "Signal Fire"

 

Every five years is the average release rate for this band, as this marks the fourth album of their 20-year career. Their first album, "Dead Mouth Mountain," blended early metalcore sounds with electronics, and they have been slowly evolving past the more abrasive elements of this formula. Their new album puts the band closer to what someone like HEALTH does, though less industrial in their intentions. The balance of atmospheric and edge is more enthralling here, as it is full of hooks. Where the last album stepped away from harsher vocals, they are back in the mix here, but used as more of a dynamic vocal color. 

There is a more 90s alternative feel to the title track that embraces more of a grungy Smashing Pumpkins-like groove. Nick from Sumac joins them on drums as Kenny from the Armed steps in to handle bass duties. On a song like "Future Worship," these more organic instruments are not felt as strongly in the mix, as they are emulating what synths and plug-ins for a synth-wave project might do. That is, until the guitar kicks in midway through the song. "Like Fotocrom" offers a lush melodic atmosphere that drifts you out into the dusk. There is a tension that builds but never gains release. It almost feels like the intro to "Tomorrow Mirage". 

At this point in the album, "Tomorrow Mirage provides the needed shift in vocal colors. The harsher vocals trade off with the sung vocals, but not in the predictable Myspace metal manner. The album's most impressive drumming flows under this to maintain the momentum. You could call the wandering exploration of sounds they embark on prog rock if you wanted. "Nothing Blooms in the Hollow" launches into an almost Dillinger Escape Plan-like chaos before finding its groove. The intricate cascading riff further solidifies their place in the sound of prog in 2026.

"Without Form" is just a synth interlude that leads into "Born Prey". where they balance the snarl of hardcore with dreaming throbbing. This spastic tantrum is slightly a regression from where the album had been leading us. "A Love So Pure" is the album's most effective balance of their screamo past with progressive present. "New Gods" closes the album with a more electronic ambiance, guiding the hypnotic pulse of what they have been doing on this album. It's the most Nine Inch Nails-leaning moment so far. This works for me. Overall, I will give this album a 9.5. Sure, the parts comprising what they do are not as unique as how they are assembled. Fans for metal core than goes prog more often than not will appreciate this alongside their fan base, who are expecting change. 

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Heavy Maytal -Evergray : "Architects Of A New Weave"

 

Swedish progressive power metallers Evergray have been at this for some time now. Their 2004 album "Inner Circle" was the last I gave a listen to, and it was a little too bogged down in the conventions of the genre to keep my interest, but things have changed. The guitar tone has grown denser to compete with the sound of modern metal. The singer and keyboardist are the only two members left over from those days as they now have the drummer from Shining, and Bassist from Therion in the fold, as well as the guitarist from Scar Symmetry. There is a heavier double bass attack bridging things, and the vocals might still be dramatic, but keep things in a more melodic and brooding direction.

On a song like "Heaven" you can hear the soulful nuance in his voice, but there are fewer Deep Purple vibes. When this sort of things goes wrong and do not infuse this level of balls into things, it ends up sounding more like Europe, which is a plight they have avoided this time around. The songs are also not just bookends for guitar solos, though there is no lack of them. "The Script" is more melodic, though it avoids becoming a total power ballad. It finds a big dynamic punch on the chorus to create a more anthemic feel. At times, it reminds me of Iced Earth in this regard, but not as dark or gritty, though darker than the last time I heard them. 

The pace picks up a little on "Leaving the Emptiness." It's a little more upbeat mood-wise. Almost making me think of Christian rock. In fact, I had to confer with the rob0-lords of AI to make sure this was not the case. Just because something is too happy for my tastes does not mean it is a Christian band, lesson learned. "Longing" is a more emotional outpouring of melody that finds them well adapted to today's musical landscape. With strong, almost poppy hooks. Unlike many prog-leaning bands, they have learned that restraint is your friend when it comes to songwriting, and leaving space for the vocal is crucial. Lyrically, it's a little more hopeful than what I prefer, but not everyone is a depressive maniac. 

Mikael from Dark Tranquility lends his voice to " A Burning Flame." To their credit, it's working off the epic 80s metal sound, though it feels more like middle-of-the-road mainstream metal, but it's well done, and the vocals continue to pull their weight. "Call of the Lions" falls closer to what a band like Kamelot does, but with a little less melodrama. The guitar solo to this is very melodic.  "Chains of Shame" keeps the emphasis on a modern metal groove and the melody that is locked in, though it doesn't feel all that heavy to me. The album closes with "The Prophecy," whih is both spacious and grandiose. The vocals soar around what feels like the body of the song. Overall, this is a great improve to the band who learned to become relevant I will give this a 9.

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Heavy Maytal- Orga Mecha : "Humanity.exe"

 

This California band offers a sci-fi-themed take on power metal. The synth doubles up the guitar part to help paint this picture. Vocalist Melissa Pinion of Stygian Crown uses her head register more than expected to capture the metal yodel of old. In and of itself, this is not the most original thing I have heard, but they stir the elements in well enough for this to work. They also have all the shreddy riffs you might want from this kind of thing. When belting from her chest register, she does not have the power of her male counterparts, but perhaps that is just this song. 

The riffs are not just trying to be Judas Priest but also embrace the groove metal of the 90s. The more emotive tone her voice shifts into for " Idols and Gods" works better as it paints them less into the nostalgia corner. The chorus strikes me as a little underwhelming. There is something odd about her vocal style, like she sings behind the beat to create a bluesy feel at times. The synth accents are a juxtaposition to this. It is also a good example of how a mix can shift the entire genre of a sound, as they synth dominant mix makes it feel more prog. 

"Steel Mandible Swarm" has more of a rock feel. I think the vocals need more effects on them to blend in more with the synth sound.  At timeS like the varied influences being brought to the table gel better in some places. "Swords Held High" has a riff that carries a similar swing to "Walk."  When they lean in a darker direction, it works better than when they don't, but they are inconsistent in this regard. The second half of the song is loaded with shredding solos if you are into that kind of thing. There is more of an 80s synth sound applied to "The Persistent Age". Her vocals float over the songs rather than being punchy and locked in to create hooks, so they feel awkward in places. The vocals could have used more love in post-production. 

"Lathe of Heaven" has a more powerful chug to it. But the song loses focus some where around the guitar solo. So far, the sci-fi elements have been marginal, but they come more to the forefront on " Let This Be Your Final Battlefield." The last moves with more drive, though there is a great deal going on, but it also winks in the sci-fi direction they were trying to push this album toward. I appreciate the effort, even if the execution and production is spotty in places, mainly with the vocals, so I will give this one a 7.5. If you want weird proggy power metal and not too picky about vocals, this album is for you. 

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Heavy Maytal- Iron Maiden's "Final Frontier"

The band's 2010 album was darker and grittier, though also more sprawling and epic, as heard in the almost nine-minute opening track, which takes two and a half minutes to build. I remember liking this album when it came out, but giving it another listen, I can appreciate the sonic layers captured here. This is not like other Maiden songs, which is impressive, though midway it busts into something more accessible to Maiden fans, as hookier vocals kick the door down. 

"Mother of Mercy" is more melodic with a rare strum coming from the guitar. Bruce sounds great, though past the age of soaring vocals, he works with what he has and has retained much of his power. The song builds into the expected gallop, though more mid-paced. You can hear the opening riff off "Coming Home' and know exactly who this is. Some of the best guitar solos from this era of the band, the song has its twists and turns without being overtly proggy, as everything flows well. "The Alchemist" is a more uptempo song that recaptures the direction the band was heading in on "Poweslave" just with the bombast dialed back with age. However, it gets the point across. 

"Isle of Avalon" starts off with a darker tension, which is always hte side of the band I appreciate the most, but the chorus rockets into the realm of their anthems. The choruses are really strong on this album; Dickinson puts a great deal of hooks in them as you can hear on "Starblind". There is more of a folk feel to the beginning of "The Talisman".  Not the first time we have heard this from the band. It occupies the first two minutes before the band comes galloping at full power. Bruce is knocking the top notes out of the park very casually. One of the reasons I like doing these stints of digging into my favorite artists' discographies is it gives me a chance like this to rediscover songs I had forgotten about. "The Man Who Would Be King" also follows their melodic, mysterious intro formula before working its way into something more powerful and metallic. This time is more atmosphere creating a fantasy environment for the epic guitar harmonies to emerge from. They jam out a bit on the instrumental section. 

They close the album with the 11-minute "Where the Wild Wind Blows." When it comes to their sprawling prog adventures, I normally expect things to start in a more subdued fashion like this, after all, they are going to have to have peaks and valleys to keep your interest. This intro part is two minutes before building to a more frolicking folk metal type riff, which, of course, they are the originators of. With three guitars, they can also fill up some time by giving everyone the chance to step into the spotlight. Here, they give this instrumental space, just over two minutes, so nothing excessive. Nine minutes in, they return to the guitar solos.  Metal is about sonic excess, but they use restraint and instead break things back down into the opening theme. This is another underrated album from this later period of the album that you should give a chance, as I give it a 10.  

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Heavy Maytal- Iron Maiden's "A Matter of Life and Death"

I now remember why I liked this album so much when it came out. Aggressive and rapid riffs but still allowing for melody. Bruce's vocal lines flow better than what we heard on 'Dance of Death". The more progressive vibes to "These Colours Don't Run" groove impressively. It has one of the album's strongest choruses to deliver a huge epic sound. Nicko's drumming is even more dialed in to give the songs the needed punch. The middle section holds the tension to set up the guitar solos. 

Bruce's voice sounds pretty youthful against the odd time, almost Tool-like pulse of "Brighter Than a Thousand Suns". Some pretty mean crunchy riffs on this do not sound dated and lack the nostalgia grab their peers tend to go for. It makes sense, as at this point, they had been playing festivals and seemed to have paid attention to where music was going. I am surprised that this album did not sell better outside of their fan base. In 2006, we were entering a phase where people began to stop buying music. They do lock into their classic gallop, but it is not looking back at the 80s for approval. 

"The Pilgrim" has more of a classic Maiden feel. The chorus is not quite as catchy as the previous songs. The verses to "The Longest Day' are darker where they have the huge anthemic chorus they are known for, which they swell into, shifting the mood. "Out of the Shadows" is a moody power ballad of sorts, and more melodic works really well; Bruce shines here. 'The Reincarnation of Benjamin Breeg" is another powerful performance from Beuce, it's a deliberate and dynamic rocker that is more effective than pouring on the speed and guitar harmonies. 

By this time in their career, it is clear they have developed a new formula that takes a power-ballad-like dynamic to open a song, before transitioning into what you more typically expect from this band. This can be heard in action on "For the Greater Good of God". Though this means being expanded in epic prog metal for this song. "Lord of Light' starts off with a darker tension, before exploding into the gallop at the minute-and-a-half mark. The last song, "The Legacy," goes from being a folkish ballad to one of the most epic post-"Fear of the Dark" moments the band has summoned, and Bruce flexes his pipes as he gets up there. This album still holds up and is the most underrated in their catalog I will give it a 10.

 

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Heavy Maytal - Iron Maiden's " Seventh Son of Seventh Son"

 

This album is where some old-school Maiden fans begin to cast doubt on how well it holds up with their classic material. I like it because it is a darker album. "Moonchild" is a great opening song; it's uptempo, and Bruce carries a balance of grit and operatic croon. Lyrically, this album is loosely based on Orson Scott Card's book "Seventh Son." It studies more mystical topics. "Moonchild" is more influenced by Crowley. Despite being a power-ballad of sorts, "Infinite Dreams" might be the album's best song. It finds Dickinson singing in a more nuanced lower register in the verses, and soaring back up on the chorus. 

Where a point of contention on this album is that this is where the band switched from using Roland GR-700s to actual keyboards. I think it's done tastefully, and it's not like they turned into Yes. However, I do remember thinking when this came out that  "Can I Play With Madness" was too happy-sounding with the being harmony vocals on the chorus, felt like a nod in a more commercial direction, but when you sit down and really pay attention to the lyrics, it's clearly not the case. I think if they were trying to stay relevant, they would have gone heavier, as that is where metal was heading in 1988 with bands like Slayer breaking big. Some of the album's most memorable guitar solos are also on this song. 

"The Evil That Men Do" is another great tone with a darker tone and Bruce finding more interesting places for his voice to go than the most predictable belting. Not sure how you think you can get a more epic gallop than what they do on the title track.  Everyone is on point here, though you expect no less from these guys. There is a cool atmospheric breakdown that builds tension well for the guitar solos to explode out of. In some ways, it reminds me of the middle section of "Hallowed Be Thy Name." They bring more bite and a refined take on their classic sound to "The Prophecy". You can hear how this influenced today's power-metal bands. 

"The Clairvoyant" works of a pretty powerful tension that, when coupled with Bruce's intense vocal performance here, works wonders. The guitar harmonies on this album seem to have their own cohesive personality that sticks to the mood of the album. Despite being warned that a demon is going to rape you in your bed at night , the chorus has an upbeat feel to it. This is the band finding a new pinnacle, and it also deserves an 11. Despite its naysayers, it stands toe to toe with the band's best work. 

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Heavy Maytal - Iron Maiden's "Powerslave"

One of the most amazing things about this band is how they released their most classic albums only a year apart, recording them in between tours. This was brought to its pinnacle as the most finely tuned musical machine imaginable with their most aggressive and epic album to date, "Powerslave". It rips open with the rapid fire of "Aces High," which has a chorus that takes flight in a manner not unlike the subject of the lyrics. The slow down to a more deliberate pace for "Two Minutes to Midnight". "Losfer Words' is the ironically named instrumental, which feels like it has a heavier drive than the previous instrumentals released by the band, though some of the stign was taken out by the melodic solos.

"Flash of the Blade" is about Dickinson's love of fencing. The verses follow a similar formula employed earlier in the album as they race along to build into an anthemic chorus. This album is much more high-energy, with none of the songs leaning towards a power-ballad direction. This high-energy tempo can also be heard in "The Duellists." I think this more aggressive style of writing was perfectly timed as it coincides with the rise of thrash.  They keep the momentum with "Back in the Village."  This song is the lyrical sequel to "the Prisoner". It is one of my favorites on this album.

Despite the album cover, the title track is the only Egyptian-themed song, and even then, it's a metaphor for how Bruce felt about being a rockstar. The most deliberate and powerful song on the album. The sprawling epic "The Rime of the Ancient Mariner." It speeds up into more of a gallop, which was mid-paced for them on this album, but to be a song that was such a grandiose prog metal sonic spectacle, the vocal melodies are all catchy as hell. They let things linger in the atmosphere midway through the song before building into a thundrrous climax.This album also goes up to an 11, so that is the score it gets reserved for only the rare upper tier albums, that are flawless classics.  

8.9

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Rivers of Nihil - "s/t"

The band's 2021 album 'The Work" found the band firmly planted on the progressive side of progressive death metal. This album finds them moving further in a melodic direction. It is not until the second song that it feels like death metal to my ears. There is still an atmosphere lurking under the more jagged attack. While the death metal vocals feel more garbled, the sung ones feel as self-indulgent as Opeth can get at times, rather than being a balanced approach. It sounds best when things slow to a more deliberate crunch and the growls get a layer of effects. 

The fact that there is more groove to "Criminals" is what makes it work. They keep the shredding to a very balanced dose, and their guitar solos are not the centerpiece of the song. There is a pretty catchy riff center stage on "Despair Church," but it sounds like a death metal band trying to be Mastodon. The more dramatic vocals on the chorus soar past Opeth toward Dream Theater. It's well done, the vocals are a little bright for me. I could stand for this song to be darker. But if you are a fan of prog metal, things being dark is not your priority. In fact, when it does get darker in the song's middle section, that might be as deep into the shadows as you normally go. The album is well produced and sounds great with guitar tones, a guitarist might idolize, but not really all that heavy. The end is the first time the sax has stepped into the spotlight thus far, at least that I have noticed. 

"Water and Time" has a more creeping groove and cooler vocal melody but feels like a mix of Incubus and Dillinger Escape Plan, some of the more jazzy exotic texture surfaces thanks to the sax, and a little growling. The solo section rips hard. "House of Light" goes from a jazz-tinged intro into a punchier death metal part that brings back some of the metal backbone to things. They go for a big soaring chorus, but it does not work as well as it did on the previous song. To their credit, the songs do not go over the six-minute mark, which his conservative for prog metal."Evidence" also starts off launching things in a more death metal direction. The song is broken up by a Faith No More-like vocal and huge anthemic gang vocals. Would not say this is the most focused song. It winds around to a jazz jam for the guitar solo. If the drummer is not playing triggers, he is impressive. 

"American Death" is a more blistering attack, with a big guitar sound that sonically feels like Dimmu Borgir without the orchestra. From the overall sound produced here, it sounds more like mainstream metal, along with the sung chorus. It's effective, but not the most original thing I've heard on this album. There is more of a groove to "The Logical End," which, along with the saxophone and solo section, leads things back in a more progressive direction. The last song is more melodic, almost like Dream Theater if they did not feel to need to fuck with time signatures. I'll give this album a 9, it's more accessible than I was expecting, but this is clearly the album they intended to make, for my tastes, I like prog to take more chances, but these guys took it in a more classic metal direction. 

 

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Pridian : "Venetian Dark"

 

This Estonian metal band plays an industrial take on metal-core and nu-metal. The sung vocals on the opening track sit in the background with the more aggressive vocals being dominant, as the syncopated chugs drive the song. If Fear Factory had been a progressive band, they might have sounded more like this. The riffs bounce around odd time signatures, like djent bands one juggled. The raspy snarl of the vocals retains its command going into the second song, as the drumming takes on a more Slipknotted attack. The song grooves more as a whole. One thing is obvious: their drummer is really good. The songwriting is a tad busy, when grooving more might serve the song more effectively. I can hear the vague traces of Faith No More in their sound as well, though not as diverse sonically.

If you are keeping track at home, the bands I have cited as being the possible influences of this band are all from the 90s. There is a 90s metal thing being done, but it's produced and dressed up in a more modern context. "Out For Blood" has a more jarring motion. It attempts to be a nu-metal groove, but is a little too weird, as it's more angular than even System of a Down, with odd little techno melodies creeping up. There is a much more Meshuggah-like feel to "Darker Tides".  The sung vocals are effective, but sit weirdly in the mix. I do appreciate that this feels dark. The more Meshuggahfied touches to the guitar are not impressive to me since I already own Meshuggah's albums and do not need anyone impersonating them. 

"DINY" finds more synth-infused sounds becoming dominant, which is a direction I think these guys should pursue further, as it lends to a more melodic backbone in the songwriting. I already mentioned System of a Down in passing, but they are a pretty decent comparison for when this song explodes. "Near Dark" is all explosion, and the vocals are just kind of crooning around it, trying to find where they belong. Melody gets prioritized for "Ruin' and it pays off as it gives the harder, punchy parts something to be dynamically contrasted by. The thump of the bass finally catches my ear on this one. The winding chaos of some of these songs also feels a little Mudvayne. 

"Idoldust" is more about the hammering jabs of guitar that bob back and forth. The sung vocals are more of a texture on this one, and they are not as compelling. It is also the first song where I begin to pay attention to the lyrics. "Void Resonance" stomps on the gas when it comes to industrial strength metal, the verses are the most interesting element, as it sounds the most original. The bass line also plays a larger role in this song. They dig into death metal a bit along the way. Yet their more melodic moments are the ones that win me over most. The album closes by taking a more rock n roll approach to this sort of thing, which does include jamming out a groove. I will give this album a 9, it's a great deal of fun and these guys pull it off skillfully. 

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KARDASHEV - "Alunea"

The last album I reviewed by these guys, and there were some Dream Theater-like elements I did not like about it, so going into this one, I am hoping those elements are toned down. They blast into things here with a more blackened aggression. The sun vocals come at the chorus to tone things down in a bad cop/ good cop manner. The vocal melody is not very Myspace, making it more tolerable. The harder vocals vary from a more black metal snarl to a lower growl. The clean vocal they continue to shift into over more fragile and a little less dramatic than the last album, though they begin to head in that direction for "Seed of Night". 

Still, the dynamics technically offer some range, in terms of melodic qualities, the formula they are working off of finds the songs beginning to run together. The moving parts of 'Speak Silence" flow smoother, and it sets itself apart more as its own song. Then the album begins to get a little bogged down, as if it wants to be Opeth, but unsure of what era, though the songs continue to ebb and flow from the most intense to least intense, when just some grooving or memorable riff might work better. 

"We Could Fold the Stars" starts off like your average blackened death metal band, before dying down to the counter tenor vocals. It's more original than what we have heard from them, but not that hooky. The last song is more of the same, though sticking closer to their heavier side. I will give this an 8.5, well done, but not really my thing, though fans of progressive death metal who also like Sleep Toekn will dig this for sure. This comes out April 25th on Metal Blade. 

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Fractal Universe : "the Great Filters"

Things are changing here at the ole Abyss. There is going to be a formal announcement soon, so this is the informal one we are branching out into podcasts. The blog in this format is not going anywhere, the podcast is just going to supplement the more editorial aspect of blogging, the Podcast will be solely opinion pieces and interviews, while my opinion is just peppered in here as I give a walk-through of these albums.  Before we get into this since we are talking like friends here, I will be honest with you and let you know what has changed here over the years as I have expanded my reach writing for various other blogs which have ranged from Cvlt Nation to Treblezine to Ghost Cult Magazine, is I am often assigned albums I might not check out on my own. 

On my first pass through these albums, I do write up here, where you get more of my honest opinion, which is edited down to play nice with relationships within the industry once I rewrite it for mass consumption. So this is an album that I would not have checked out if it was not assigned to me. I am pretty picky when it comes to progressive metal. There have been some progressive death metal albums I have really dug this year like the new ones from  Sadist and Ancient Death. There have also been bands that incorporate elements of jazz. Progressive metal covers a wide breadth of definitions, Opeth provided an excellent one last year. This French band is in a neighborhood that borders bands like Cynic, but also the softer touch of bands that are not really metal at all like Dream Theater. Thankfully the clean vocals on this album do not sound like Steve Perry. 

What sets them apart is the saxophone solos that find them melding with smooth jazz. Everything sounds too clean for death metal production. The vocals are too harmonized and fine-tuned, They end up sounding more like Weird Al Yankovic. If you are going to listen to everything with a fine-toothed comb to study the sweep arpeggios then this might be the kind of guitar playing you are into.  By the time we get to "the Seed of Singularity," I am pretty bored with what is going on here. If their claim to fam is going to be blending jazz, then they need to be doing it like White Ward. 

It could be argued that "The Equation of Abundance" has a more Meshuggah-like throb. It is less mechanical but also packs less of a punch. 'Specific Obsolescence" plays with atonal passage as the intervals are shuffled around like Pokemon cards. It flows better than some of the previous songs. It is also more melodic with an anthemic guitar solo. "Dissecting the Real" does employ some time signature choices that are effective and for the crow who likes to cross reference everything off a metronome, they will find the counts hold up. None of this conveys aggression being vented through their instruments in a manner that means metal to me.   

By the time we get to "Concealed," they really have not progressed all that much as they are using the same formula as they did at the onset of this album. This album is very relaxing and almost put me to sleep. I will give this album an 8 based solely on the fact it is well made for what it is and people who are into this sort of thing should expect this to fall along those lines when it comes to their tastes for music that they like to refer to as metal, more than the mathematic work of art that people who are into guitar solos will flock to. 

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Imperial Triumphant : "Goldstar"

These guys won me over live. In the studio they have once again orchestrated chaos, that can not always be heard as the catchiest songwriting, though the opening taking descends into a place dark enough for me. In some ways, this is more blatant metal with songs like "Gomorrah Noveaux" riding a taunt clockwork chug. The vocals are snarls but articulated enough that the lyrics come across. It makes me think of a death metal band covering early Pink Floyd. Meshuggah's drummer joins them for "Lexington Delerium" though it's darker and more atmospheric than you might expect with such a guest aboard. It is not until the midway point that things get hammered into place. To their credit these are more concise songs, and perhaps some of the band's most accessible work to date. 

Stylistically this album is not what I would refer to as black metal anymore. Progressive metal is the most fitting label for what these guys are doing. There are tremolo-picked guitar parts at times, but it never feels like aggressive darkness being pursued. "Hotel Sphinx" finds them fairly straightforward in the commitment to the chug, with some chaotic dissonance interspersed. "NEWYORKCITY" is a quick blast of grind-core chaos and is more like an interlude. The title track is also under a minute and is a 1920's sounding ragtime ditty, that is also more of an interlude. "Rot Moderne" has more in common with the more brooding edges of the band's past work, The vocals are a lower growl as they churn through angular riffs that follow Mr. Bungle-like math. 

They almost turn "Pleasuredome' into a drum circle as they are not only joined by Haake again, but Dave Lombardo as well, so the song is percussion-heavy, to say the least. The first minute and a half is the slow build into the song. It does find its groove which would be hard for it not to with the additional drummers. "Industry of Misery' closes the album. This one snarls out of a more jazzy ambiance. It also hits more like death metal when things kick in. There is a boozy swoon to the angular nature of the lumbering riffage. There seem like more samples being used on this album than the previous one. The guitar solo to this song is trippy and interesting, the first time a metal band has done something that reminded me of Jimi Hendrix in Many a Moon. I like the darker turn the song takes as it feels like they jam it out til the end.  I will give this one a 9.5, for their willingness to experimental while still writing songs, This one is on Century Media Records. 

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Spiritbox : "Tsunami Sea"

I really liked their 2021 album "Eternal Blue". It scored a 9.5, so that is a lot to measure up against, but the singles leading up to this highly anticipated album were pretty good. We hear many of the same elements employed on the opening track. While they are operating within the bounds of the post-djent metal core, there are enough interesting elements, like the more robotic vocal effect used on the verses of "Black Rainbow". However, I think it's the band's pop lean that helps separate them from their peers, as Courtney is better at vocal hooks than the singer for Jinger or Infected Rain, who work in similar sonic circles.  This is where a song like "Perfect Soul" finds them shining. You also hear the strength of their hooks on "Keep Sweet"  which is even poppier perhaps. 

Unlike most pop acts, there are no additional songwriters, much less a team of one. The most pop moment on the album comes much later on "Crystal Roses", though there are more rock dynamics in play. She toys with auto-tune as an effect rather than relying on it. The title track leans into melody almost to the point of being a prog power ballad. But it's still heavier than the new Dream Theater. Their drummer really fills the spaces with interesting playing that they build off of. "A Haven With Two Faces" finds the harsher vocals return after they have lured you into a false sense of security, as this song spills over from the more serene vibes of the previous one. 

"No Loss No Love" breaks from any notion of formulas this album has conceived and is where the album takes a more experimental slant and more electronic elements begin to creep in. "Ride the Wave" finds this taking them back in a pop direction, but to the band's credit, like their pop tendencies or not, they do not have a team of songwriters and producers coming up with their hooks for them, it's all Spiritbox. I am pretty picky when it comes to pop, so to my ears this is well done. With 'Ride the Wave," it does climax in a heavy explosion. It ends with "Deep End" which also touches on a more melancholic pop that shifts into anthemic rock. Since this album has more hard work invested in its writing than their previous album I am going to give it a 10 and see how it grows on me. I think they have found their place in the landscape of the music biz here, and we will see them get bigger than they already are. 

 

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Opeth : "The Last Will & Testament"

 14 Albums later Akerfeldt is the only original member but I am willing to count anyone who has been playing since "Deliverance" so that makes two. I know some are going to be thrilled about the return of the growl. I get it, but I would be more stoked for songwriting on the level of "Blackwater Park". Sure we get some proggy chaos, it's impressive, but it does not feel like the heart is invested in as much as they are punching the clock to give fans what they think they want.,  It is better than "Heritage' so I will accept that. The second song finds Joey Tempest from Europe lending his voice to the background, and he still has it. Ian Anderson also does a spoken word narration throughout.  I do like the second song better than the openers as there is more of a backbone to it. 

After checking out the first two songs, I started the album with track three, this album is not big on song titles, and let it play. The next thing I knew I was on song 5, so the songs run together at times. We are hearing more of Akerfeldt's lower range in places.  What separates them is the fact that the 4th song is a closer return to their older sound if we are calling "Ghost Reveries" their older sound. Granted it gets broken up with odd interludes so the momentum to headbang is never emphasized as it once was.. In fact, the song wanders out into a flute solo. They also fire off some impressive guitar solos if you are into that kind of thing.  

The 6th song falls out of the previous one like it's an extended jam. It has a stronger groove than most we have heard on this album up to this point, not the most metal moment, but it leaves things open to going in that direction. I like the way the guitar is phrased in the middle of the song it reminds me of "Deliverance" which is my favorite album by these guys. I think this best captures what they do. The guitar solo does rip out from this song in a heroic fashion. It takes you on a similar journey as the songs before it, just in what I think is the most classic manner from the band. The drummer really gets down on the 6th track, though I do not think it is as good as the previous song, but better than most prog metal these days. 

The 7th song dances between the death metal vocals and the jamming grooves they work off of. There are some darker more deliberate moments that I enjoy. The last song "A Story Never Told" is more of a proggy power ballad but feels true to who they are as a band., It wanders around the mellower drift of the chord progression more like something ELP might do. I will give this one a 9.5, not a perfect album, and perhaps it just needs to grow on me, but one of the best things they have done in a long time, it almost makes me forget some of those post- "Watershed" albums. 

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Blood Incantation : " Absolute Elsewhere"

Blood Incantation pushes the bounds of death metal further into prog on this album, as it opens in a more Rush-like fashion. The drummer makes himself known right from the start. Granted death metal drummers have to be good to cut it, but this guy might be one of the best metal drummers in the game right now.  They are students of 70s prog for sure, as it floats in on a cloud of weed smoke and science fiction. The Moog solo brings a Pink Floytd feel that is only pushed further to the dark side of the moon but the phrasing of the guitar solo. 

Before we go further here is what is going are here. The album is six songs, but they are being presented as two songs broken up into three pieces, if you played this in shuffle mode you would not be confused. The second song is more krautrock it wanders on for a bit building up into a metal climax 
for the last minute, but it is a pretty kicking riff so it's all good. The third song has an angular riff that grinds with the machine-like shifting heard on post-domination" albums. The blast off with a space-tinged feel to the rapid-fire drumming. It is not a bass mix so it's not really dark, but very precise. It wanders into tribal drumming and exotic instrumentation. Sung vocals also surface here to give things a Cynic feel. 

If you followed what I told you earlier the 4th song is the first song of the "Stargate" section. It's more of an early 90s death metal feel here. The riffs pummel more than groove until they break down into a more melodic section. There is a pretty epic guitar solo on the song. , It does eventually go into a more Slayer-inspired riff. The song after this, goes into a jazzy groove. It eventually weaves to another Pink Floyd-like floating. There is almost a power metal-like feel to the riff of the last song. Though it weaves in a more technical direction. This is before the wandering prog section of this 11-minute song. All of this occurs not even halfway into the song before the more blasting drums kick up. The more grandiose themes return, feeling like something you might expect more from Coheed and Cambrai. From there is of course blasts into a more frantic pounding.. Over all their big adventure pays off as they are much more than a death metal band now, I will give this a 9. 

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Death is June - White Stones : "Memoria Via"

 

Having covered their previous albums we are excited for a third one as it will assuredly mean great guitar playing with a progressive touch to their take on melodic death metal. Right from the start Opeth bassist Martin Mendez is bringing exotic chord progressions. Even when the growled vocals come, there is more of a rock tone placed back further in the mix. Perhaps because this album is done in his native tongue, so he did not want that fact as prominent. It's way more progressive than the first two albums bringing them much closer to where he left off with Opeth,. It does get ambitious in the maze of twists and turns by the third track, though is still an interesting listen thanks to the prominence of riffs to hook you back into it. 

"Zomba D Orun" is a break from the more guitar-centered song into an experimental jazz-like instrumental. Almost like something you would hear on an early King Crimson album. Then with "La Ira" they ventured into a more angular grooving song, with plenty of room for the guitar to get flashy at the corners. The guitar solos are always a high point on their albums, and this one is no exception this is coming from someone who wants to know you are capable of doing this but doesn't like excessive shredding. They are handled in a manner Robert Fripp would approve of here. "Somos' is a subtle jazzy interlude, that is very nuanced. 

This album is not heavy but uses metallic elements to add a more aggressive touch. It is more thoughtful than it is dark. They are masters of dynamics, making this a graceful rollercoaster ride that glides instead of jerking you with jarring arrangements. This is a stark contrast to the new Malignancy album I just reviewed, which crammed this album's entire number of time signature changes into one song, making it a more abrasive listen. These guys can shred rings around Malignancy, but choose not to do songs and the songs benefit from it. "Grito Al Silencio" taps into both a more death metal-like sound and further explorations into jazz. Cools sounds and ideas even if it is not the most focused song. Though death metal fans win out on this one as the vocals commit to a more commanding growl. 

The progressive side of the band is where the groove comes from which gives wider audiences something to bob their heads to which is why Tool has a broader fan base than Cannibal Corpse. His time in Opeth, who certainly have grown from being just a death metal band has taught him this lesson. As the bass player, he knows this central role of groove.  The last song is more of an instrumental outro, sounds nice, but aside from the context of the album not something you want to listen to out of this context. Regardless the interludes add nice color and remind you of the art of the album, I will give this album a 9.5, as it once again blends a flawless mix of metallic energy to prog, though it finds them crossing over more firmly into prog metal. 

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