Rivers of Nihil – The Work (2021)

Rivers of Nihil were one of the American technical death metal bands that seemed to be a direct response to the tech death bands from before (the early 2000s to 2010) switching gears from more traditional death metal or metalcore to space themes and ambient moments, such as The Faceless and Obscura. Those bands in turn made their change in response to the originators of tech death changing to more philosophical themes such as Cynic and Atheist. And around this time, it wasn’t just death metal, but Prog as well, as Devin Townsend and Opeth finding their softer sides. So with this line of bands following each other footsteps, was it surprising that Rivers of Nihil would change from their tradition death metal to incorporating psychedelic elements on 2018’s Owls Know My Name?

The simple answer is no. By then, saxophone had well found it’s way into tech death, including on albums by The Faceless. But aside from what some might dismiss as a gimmick, the songwriting on that album was absolutely solid, and it was a joy of an album to explore. Their follow-up however, surprised even me, not only how good it was, but also how much ground they explore and territory they masterfully cover. Let’s dig in to 2021’s The Work.

Between the release of their of previous album, three major things (that I know of) happened for the band:

1. The release of Owls helped the band get to a point where they could tour for a living.

2. The success of Owls created a pressure for the band’s follow up, something they had not experienced at this kind of level before.

3. The COVID 19 Pandemic put all of that to a halt, much like it did for the rest of the world.

These newfound experiences put the idea of “work” into context for the band, something they explore thoroughly over the course of this 64+ minute record. Without going too much into the concept, it’s not just the actual work we go to in order to support ourselves and our families, but the work our body does everyday to keep us alive, the work we put into relationships, all the work that goes on in our world and in ourselves every second of every day. The band chooses to start this album on a theatrical note. The soft opening is not surprising, and it brings up memories of Autotheism by The Faceless. But what it lacks in memorability as opposed to that one, it makes up for setting the stage for this dramatic endeavor. The subtle change from major to minor key, the background vocals, and train like sound effects all help the song build up to a huge climax. The song comes back down, only to go straight into………

The huge and heavy riffs of “Dreaming Black Clockwork”. This song is equal parts djent from Meshuggah, industrial elements and vocals like Devin Townsend, and “black jazz” like the band Shining, thanks to the comping style of the saxophone. It has a soft and mysterious middle section that only returns to the heavy riffs. This is a great introductory track to the mechanical tones of this album in comparison to their previous ones. It also shows how the band break away from the saxophone as a soloing instrument, and instead as a flowing and continuous part of the ambiance of the album.

If the previous song reminded me of Devin Townsend at his heavier moments, “Wait” reminds me of some of his more tender moments. It is an odd follow up to have a softer song immediately after the previous one, but I think that jarring transition is exactly what the band was going for. After some screams in the middle and a classic rock climax with a bluesy solo, and transitions into the darker “Focus”. I love the dynamics in this song, from the bass heavy verse, to the middle eastern sounding guitar riff of the chorus.

“Clean” has some memorable heavy riffs and screamed vocal lines, but the star of the show is a psychedelic synth solo and bluesy guitar solo that comes perfectly in the middle of it all.“The Void From Which No Sound Comes” combines the industrial and ambient elements of “Focus” with a massive chorus and a perfectly executed saxophone solo. “MORE?” Is the most aggressive song on the album musically, lyrically, and vocally, and it interestingly transitions to a reprise of the intro track, appropriately named “Tower 2”.

“Episode” starts off like doom metal you’d expect from the band Swallow the Sun, and is greatly contrasted with its heavy parts that sound more like the band Behemoth. It has a few masterful guitar solos as well as an emotional climax with the repeated lyrics “Do the Work”. They close the album out with a pair of epic tracks. The first is the gorgeous 7 minutes ballad “Maybe One Day” which is simultaneously hopeful and questioning, climaxing with a slide guitar solo and the repeated lyrics “Is this the only way?”. The last song is the progressive metal masterpiece “Terrestria IV: Work” which weaves through so many twists and turns, finally culminating with our familiar lyric, “Do the work”.

Overall, some transitions from heavy songs to soft songs may be questionable, but they were definitely the intent of the band nonetheless. It with everything else on this album meticulously crafted, it would be hard to imagine that wasn’t the case. Still, it is a small gripe if I had to choose gripes. The album is an incredible experience from start to finish. Every song has merit and memorable sequences. I may have gotten around to this album late, but it has been one of my favorite recent experiences, and I would highly recommend it to any fan of metal, Prog, tech death, or even jazz, as it will surely be one of those albums that bridges the gap for listeners who are typically not into extreme metal, much like Cynic and Meshuggah have done.

Cynic – Ascension Codes (2021)

This album came out almost a year ago at the time of this review, but was very difficult to write about upon initial release. Prior to its release, Cynic, and in turn Cynic’s fan base we’re going through difficult times. From social media fights between singer/guitarist Paul Masvidal and drummer Sean Reinert, that ended with Sean leaving the band and Paul taking full control of the band, to the passing of not only Sean, but also long time bassist Sean Malone within a year of each other. The future of the band was uncertain to say the least, but Paul was determined to continue while mourning the loss of two friends.

After Sean Reinert left the band, Matt Lynch of Trioscapes fame (and currently Intronaut as well) replaced him in 2015. And for this album, Dave Mackay took over bass duties on synthesizers, as well as added a new element to Cynic with keyboard solos. Interestingly, the band has experimented with guitar synths in the past, so they’ve gone from having guitars sounding like keyboards to having keyboards sounding like bass. In addition to the trio are a plethora of guest musicians including Plini providing guitar solos and former Cynic alumni Max Phelps providing backup vocals.

The album is an 18 track endeavor clocking in at about 49 minutes. This is because of an intro, an outro, and an interlude between every main song. These are the “codes” referred to in the album’s title. But I must state that I am immediately biased against albums that do this format. I understand bands are trying to create a flow or a story with the use of so many interludes, but to me, it most often ruins the flow of an album that can do better with fewer, or the interludes integrated into the main songs somehow. So with these “codes”, that leaves 9 main songs, but really I struggle to call 1 one of them a main song (will explain in a bit), so it brings us to that magic number of 8, the number of tracks the last three Cynic albums have been.

After a 30 second intro, “The Winged Ones” comes in. This is a 5 minute instrumental that honestly could have worked anywhere on the album. It is a great introduction to the album, but it’s beauty and engaging nature could have worked as a closer or somewhere in the middle as well. It reminds me of bands who are heavily influenced by Cynic such as Fallujah, The Facless and The Contortionist, shows off Matt’s incredible drum work, and gives us our first taste of the keyboard/bass tones. The keyboard solos have an old school feel to them, sounding like they belong in the 80s rather than a Cynic album, but don’t sound out of place enough to hinder the enjoyment of the listener.

Rather then going straight into the next track, we can already start to see the hindrance of going into an interlude, loosing all that momentum. “Elements and Their Inhabitants” would have perfectly come after “The Winged Ones”. It picks up with that lost momentum sounding more like Cynic. The vocoder vocals come in as well as frantic guitar picking and drumming, which lays out for a beautiful Pat Metheny style guitar solo. Their are few vocals and they are hard to decipher. So by the time the next interlude comes to a close, you’ve had five tracks already, but nothing really to sing along with yet.

“Mythical Serpents” is a classic Cynic track. On par with anything from Traced in Air, my favorite album by the band, it has memorable melodies, tons of dynamics, and the right amount of ambience. It finally feels like the album was reaching what it was leading up to. Unfortunately, after a long fade-out, and another interlude, it is up to the next song to try and pick up the momentum. And while I feel “6th Dimensional Archetype” is an interesting track, it’s verse is the catchy hook with no chorus to tie it all together. It has potential, but ultimately fades away without reaching it.

This unfortunately leads to the most throwaway track of the album. “DNA Activation Template” on paper looks like one of the main tracks, but actually starts with 4 minutes of alien like sound effects. The last minute of the track is music that sounds similar to “The Winged Ones”. If it was just the music by itself it would have been fine. But that much silence, including another interlude right after it, in the middle of the album creates such a dip in the experience.

“Architects of Consiousness” is another great song that has memorable vocals lines like “Mythical Serpents” did, and sounds like classic Cynic if it wasn’t for an upfront and almost cheesy keyboard tone that doesn’t work as well as the time in “The Winged Ones”. “Aurora” on the other hand, might be the best song on the album. Sounding not only like Traced in Air, but also like Paul’s side project Aeon Spoke. The vocals are clear, the production is beautiful, and it doesn’t meander. It is possibly the most focused song.

“In a Multiverse Where Atoms Sing” is a frantic piece, combining drum and bass electronic rhythms, mathcore riffs, and all that you expect from Cynic in a 3 minute package. The major key and uplifting tones remind me of the best moments from the bands previous release, Kindly Bent to Free Us. Finally, “Diamond Light Body” is a perfect closer with its build up and repeated melody.

Upon first glance, the 18 song track list looks overwhelming, but a first full listen through might make you feel underwhelmed, as if you didn’t cover much ground at all. But with repeated listens, you see the strength of its core 8 tracks, and if I was just reviewing those songs, I would say it’s as strong an album as Kindly Bent to Free Us, maybe even better due to the moments that remind me of Traced in Air. But, the overall experience is more tedious than it needs to be, and kills the pacing it could have had. Plus some out of place keyboard tones take you out of the overall experience. But for a band that didn’t seem like they would have another album, the songwriting and musicianship is top notch, as you would expect from this legendary band. Even through all the changes it has been through, that much will always shine through with Paul at the helm.

Kowloon Walled City – Piecework (2021)

Kowloon Walled City blew me away when I saw them two nights in a row. Once at a small dive bar in Long Beach. The next in front of about 1,000 people opening for Neurosis. In both shows, their demeanor was almost identical. They are a very unassuming band. But this simplicity is also part of their brilliance. I wrote a review of their previous release Grievances. And when it came time to write a new review for one of their albums, I was shocked that it had been 6 years. A very quiet six years, with scattered shows.

This silence was in part to an uncertainty of the band’s future, which tends to happen when your main songwriter has writer’s block. And with the release coming when it did, it is possible to assume that the pandemic/lockdown could have played the role of the muse, like it did for so many others. If that is the case, I wouldn’t know. Because unlike many bands who came back flashy, swinging, inspired to try a new sound…. Kowloon came back exactly as before.

This new release contains 7 songs that could have been on either of their previous two albums. No clean vocals added, or female vocals…. No crazy times or song structures….no blatant song lyrics calling out specific people or events. It was as if everything we had been through in life had never happened. Just like it didn’t matter to them whether they played in front of 10 people or 1,000. They give you their sound. And that’s not such a bad thing.

In my previous review I explained what makes their sound so unique. Punk sensibility with a sludge/doom/post metal (whatever you want to call it) sound. No crazy light shows or song lengths. No endless tunnels of reverb and delay. And yet, despite their simple arrangements (2 guitars and bass playing slightly different things at the same time, they way Slint did on Spiderland), it is there unique use of space between notes that creates the atmosphere. Even though all the instruments are dry, you still feel like you could be falling as you wait for the next hit.

The title tracks opens by trudging along, as if the chugging were to mimic the lyrics of just passing through life (I don’t have the lyrics written down anywhere so my interpretations could be flawed). Though after a minute, it quickly rushes you to your first bit of soft guitars, a dynamic that despite how often it gets used, never overstays its welcome. Dynamics are after all what this band is all about. That if anything, is their only flex.

“Utopia” is a darker tune with its incredible bass tone, apocalyptic/lost in the wilderness like lyrics, and use of occasional feedback. After a brief soft section, it hits with an epic ending. “Oxygen Tank” on the other hand takes its time to build up, showing off the wonderful DIY production. Punchy drums, upfront bass, just enough room to breathe on the guitars so they don’t muddle the mix, and vocals that always feel on the brink of distorting right out of the speaker. The build up payoffs off with the closest the band has gotten to a normal chorus (“you never wanted to escape!”). Definitely a highlight.

“You Had a Plan” is the closest the band has come to a ballad. Heavy guitars don’t come in until around the 3:30 mark, the music takes over from there, and then the vocals throw in some powerful lines at the end. The song shows the band’s restraint while never conforming to singing when it gets soft.

“Splicing” might be my favorite from the album with its simple but effective bass lines, lyrics, and melodic (while still slightly dissonant) guitar lines. It has a standout lyric “through the haze, like a pulse, you sang”, a build up in an odd time signature, and an abrupt ending.

“When We Fall Through the Floor” musically might feel like more of the same by this point, but it makes up for it with so many memorable lyrics, so you can’t help but headbang as Scott yells, “What’s hidden in the floor?!”

“Lampblack” is a great closer, starting off with the lyric “One last thought” before closing with the line “You want to feel like you’re going home”. There is very little fluctuation in this song and is probably the most jam-like song they’ve done. Aside from the soft breaks, it stays on its main riff before the song ends and fades away.

Like their stage presence, very little attention is forced towards the album. It comes, it goes, and doesn’t over stay it’s welcome. In fact, after 6 years, a 32 minute album is kind of surprising. Most bands would feel obligated to switch things up, so something big, surprise their fans.

But Kowloon Walled City is perfectly happy to do what they’ve been doing. And their fans are perfectly happy to hear more of that. It was almost underwhelming upon first listen, but I should have seen that it’s not about what’s expected. And upon my third listen, I knew it was exactly what it was needed to be. Great lyrics. Great music. And a band that sounds like no other. Why then, would you want them to conform to the trends? Doesn’t matter anyway.

They won’t.

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(All pictures curtesy of the band’s social media pages, and websites selling their merch. If you like the album, support the band by purchasing a physical copy of it!)

Between the Buried and Me – Colors II

Between the Buried and Me (BTBAM) released Colors in 2007, an album that would change my life and the way I thought about music. It also changed a lot for the band, helping them away from the metalcore scene they were forged in, to opening slots in Amphitheaters with the likes of Dream Theater and Opeth. Those who were brave enough to get past their long name knew of their progressive tendencies, and on this album, it was on full force, like nothing before it, and in my mind since it.

My love for that albums lies in its balance. Balance between heavy and soft sections. Balance between knowing when to take itself seriously and knowing when to surprise its audience. Balance on knowing how long to stay on a riff or a grove. Balance in its transitions. Perfect balance in its 8 unique and equally important parts, that flow through as one. A balance, that I search for in all albums, but is very rare to find.

So when BTBAM announce a sequel to this album, I don’t take it lightly. This album has a lot of weight on its shoulders, and I don’t want a quick and easy cash grab.

The first single “Fix the Error” immediately left a bad taste in my mouth, aside from some Colors like arpeggios and some drum solos (that I did not yet know were 4 different drummers). It was quirky. It was punk like. And it had a vocal part that continues to grind at me after many listens.

Not at all what I think of when I think of Colors.

“Revolution in Limbo” was the next single, and this one blew me away. It sounded like old BTBAM. As if I could have been on the original Colors album. With brief moments that sounded like Alaska as well as ones that could have been on The Great Misdirect. The balance was back. Metalcore riffs, sweeping guitar licks, transitions that made sense, a confidence in its sense of melody, and a 9 minute runtime that just flew by.

Now I was confused. And the next single didn’t help me out either! A keyboard driven proggy/funky, technical death metal song that sounded more like the bands BTBAM inspired rather than themselves. Something that could have been done by The Contortionist or White Arms of Athena, while still fitting right at home on a Tommy (vocalist) solo record. Now I have three very different songs and no clue, how it all comes together.

On my first listen to the whole album, I’ll be honest. I didn’t think it did. It felt like a bunch of different eras of BTBAM all fighting for seniority. I knew there were good moments and songs, but was ready to write a review about how the balance and melodies were severally lacking.

And then I listened to it some more.

And this long overwhelming album started making sense. Not only that, but it was flying by. And just because it didn’t have the same kind of standout melodies that the first Colors had, didn’t mean it didn’t have flow.

Flow became the word of the album, because I hadn’t realized until that point how much the flow was lacking on Automata and Coma Ecliptic. I’m not saying BTBAM forgot how to write an album. They’re obviously masters of that. But it wasn’t just songs connected by lyrics anymore. Musically, this album was making sense.

From the soft intro of “Monochrome” that we know to expect from them (starting with “Foam Born (A)” from Colors, to the subtle hints and similarities of “The Double Helix of Extinction” to “Foam Born B”. This song snd “Revolution in Limbo” are a ferocious double punch with drumming and guitar chugging that feels like an old friend returning, even though they’ve made a career out of it. Soon you start hearing references to all kinds of BTBAM songs. Is the drumming a reference to “Ants of the Sky”? The vocals a reference to “Lay Your Ghosts to Rest”? The melodic lines a reference to “Informal Gluttony” or “Extremophile Elite”? You start to wonder if they were intended or not. Standouts of the song are the growls (curtesy of drummer Blake), and Ants of the Sky saloon reference.

In the context of the record, “Fix the Error” comes at a perfect spot. Now that they’ve reintroduced the modern life and isolation themes of the first album, the theme of upbringing and revolution makes more sense. It truly becomes a time to celebrate (though I still hate the “if you see the rainbow” part).

“Never Seen/Future Shock” is an 11 minute epic with “Telos” like riffs, melodies, random medical sounding sections, but it also demonstrates something on this album. Not only their confidence, but their sense of fun is really blending so well here. Maybe cause they could reference themselves so much, or maybe cause the songwriting came more naturally. But these long songs with twists and turns don’t feel like they’re dragging on. Even after a section with crazy timing, it pays off with about 4 minutes of beauty.

“Stare into the Abyss” is a keyboard driven electronic track that we’ve come to expect from them, but it provides necessary breathing room and has a post-rock climax. This before the chaos of “Prehistory”, with its video game/cartoon sounds. It follows in the footsteps of “Bloom”, “Voice of Trespass”, and “The Ectopic Stroll”, for the fun section of the album.

If the first half of the album showed they could still pull up their older and heavier style at will, this second half shows their arsenal of tricks aren’t just gimmicks, and the transitions are phenomenal. “Bad Habits” is one of the most interesting tracks in my opinion because it’s got a strong old school Prog vibe. Hints of King Crimson, Genesis, even Gentle Giant scattered throughout their aggressive delivery. From the keyboard tones, jazz, folk, and classical, it is definitely a Dan (bassist) song, it brings out the best in Tommy, especially with its emotional delivery of lyrics like the return of “sleep on, fly on” from “Ants of the Sky”.

Then comes the aforementioned “The Future is Behind Us” which sounds so fun and welcoming in comparison, before moving on to “Turbulent”, which actually doesn’t live up to its name. In actuality, it is another moment of simplistic electronic keyboard parts, continuing what the previous track started while making references to other songs, bringing different ideas together. It just lets you get to the music while building up for what is to come. But before they do that, they actually drop out for a bit with “Sfumato”.

Like “Viridian” before it, the band provides breathing room before the epic closing track. It introduces what will be a main theme on the keyboard while giving off serious David Gilmour vibes, which you can never have enough off. This just leaves…

“Human is Hell”, which acts as the “White Walls” of the album. Starts off similar with a driving riff they actually borrow from The Great Misdirect. It follows a similar trajectory as “White Walls” but not without its surprises! The title of the song is said in a part that reminds me of “Digging the Graves” by The Faceless. The first few minutes are almost punishing in how heavy it comes off, and then the melodic chorus comes out of nowhere, almost bittersweet.

It’s impossible to say everything that happens in the song, let alone all the references. Halfway through the melodic melody from “Sfumato” comes back and introduces an extended soft section with beautiful lyrics, melodies, and solos. Then a familiar chord progression leads to a keyboard build up, similar to build ups we’ve seen in their epics before. You can already imagine the audience getting pumped up at this part for the big finish.

After a “Swim to the Moon” nod, a “Prequel to the Sequel” like breakdown, and mini drum solo, we have a brief soft part, before the final chorus. Once this ends, we have the brief major key guitar solo like seen on “Goodby to Everything (Reprise) and “The Grid”. This gives it a classical finale ending, as opposed the sorrowful one of “White Walls”. This is one of my few gripes because it feels like band is relying on it too much, but it is a short gripe for such a triumphant album.

It is so hard to condense writing about this long album with all its references, all it twists and turns, all its technicality, and all its musical sensibility. I fear this review might already be as long as the album itself. But to try and summarize, for someone who was so worried about a sequel to something they loved so much, it wasn’t quite what I was expecting. Then again, how do you expect a sequel to something that was so unexpected in the first place. But the band passed the test with flying colors, finding a confident way to pick and choose the best parts of their career without completely redoing it.

BTBAM has always had the unique ability of sounding like everyone other band and yet only like themselves at the same time. There wasn’t much they needed to prove to their fans at this point, but their impressive talent to continue challenging themselves while playing some of the most challenging music out there is nothing short of inspiring.

Pain of Salvation – Panther (2020)

This album came over a year ago. So why am I just talking about it now? Maybe it was because a recent conversation reminded me that I had not done so yet. Maybe it was because I wanted to write about something but was struggling with what to write about. Maybe it’s because a year later, this album’s brilliance shines brighter as the world trudges along through another year of the pandemic, and the feeling of isolation grows.

Whatever reason, I’ll try to keep my gushing of this album brief. There are many great reviews of it, so I hope this one is unique.

Pain of Salvation has always been a Prog band in the true sense of the word. Where other “Prog” bands find a groove and stick to it, Daniel and company love to keep us guessing. From rock opera’s, to acoustic albums, the 70s blues rock worship, and back to the Prog metal that made them famous, Daniel wears his love for Mike Patton as he traverses different styles, musically and vocally.

Panther conceptually fits this theme, an album about the outcasts of the world. Those who take the road less traveled. A metaphor for the band themselves, while perfectly coming during the COVID lockdown. Musically, it’s darker, heavier, and almost industrial style gave that “noir city” vibe, or as we like to say in my band, “coldly calculated”.

The first song “Accelerator” lives up to its name. A driving syncopated rhythm, with the timing of Meshuggah, the warm guitar and drum tones from the Road Salt albums, and a nostalgic keyboard tone from 90s R+B, with just enough catchiness in the vocals. “Unfuture” is a groovier track with industrial and bluesy elements, conjuring up the heavy moments of Remedy Lane, Be, and Scarsick. Its “welcome to the new world” hook is sure to get stuck in your brain.

“Restless Boy” starts off as an trip hop like song, complete with vocoder style vocals. It’s chill groove lulls you in so it’s second half catches you completely off guard. The syncopated Meshuggah like rhythms of the first song return, this time of steroids. It is one of the craziest moments for a band who has made a career of interesting transitions.

“Wait” is the beautiful ballad we know to expect for POS, and yet catches us off guard every time. combining the theatrical elements of Be, the classic rock/folk sound of Road Salt, and the pure emotion of their previous album, it is lush, gorgeous, perfect.

“Keen to a Fault” is an interesting combination of late 70s and 80s electronic keyboard tones with some ferocious fingerpicking on an acoustic guitar. Interestingly the feelings of isolation Daniel described in the hospital room on their previous release feels similar to these lyrics of feeling isolated in the world. Songs like this one as well as “Wait” could very well have fit on it, and some songs from In the Passing Light of Day could have fit well here.

I say that with no disrespect to either album. They are both brilliant in their own ways.

“Fur” is a short instrumental interlude that provides some necessary breathing room before one of the album highlights, the title track. The track that embraces Daniel’s rap/hip hop style the most since the Scarsick album, these songs are always controversial in the POS fanbase. I personally think it’s brilliant, with lots of groove, attitude, and a simple chorus perfect for singing along to.

“Species” is a very simple song, but in doing so, really showcases a perfect blend of past Pain of Salvations combined. The anger of Scarsick. The classic rock feel of Road Salt. The melodic tendencies of their early albums. It shows a band aware of the past, not afraid to say what they have to say, and continuing to push on. I wouldn’t even say it’s one of their best songs, but that’s how good this band is if this is a weaker track on the album.

The album finishes with a epic that acts similarly as the closer of their previous album. When Prog fans see long songs, we expect to hear as many notes crammed in as possible. When POS has long songs, they usually have the opposite effect. They take their time, and provide some beautiful and introspective moments. After a piano melody and a deceptive heavy riff, it comes back down for a soft verse and chorus. It teases breaking out into chaos many times, but never loses sight of its few simple melodies. This provides an excellent guitar solo, something that seems to be rarer on their albums, so that the band can deliver their best ones rather than their flashiest.

Daniel’s soulful delivery towards the end of the song is nothing short of spectacular. It will please the old school fans of the band and give them lots of nostalgia. The band have become masters of looking back and foreword at the same time. Always evolving but never losing themselves completely. Panther is another stellar release from a band who may have briefly isolated their fan base from Be to Falling Home. But they gladly came back to prove that they never lost their heaviness, experimental tendencies, but most of all their songwriting abilities. This album is a joy to return to, and makes me so excited for what comes next.

Steven Wilson – The Future Bites (2021)

It’s no surprise Steven Wilson is my favorite musician. His songwriting and his diversity has been influential on my own band, and I make it a point to see him each time he comes around because of how unique his live shows are.

His albums take a life of their own. They have their own style, concept, and imagery. From the drone inspired Insurgentes, to the jazz tinges of Grace For Drowning, the classic Prog of The Raven that Refused to Sing, to the dark modern Prog of Hand.Cannot.Erase, and the 80s pop inspired To the Bone, he had already shown us an interest in electronic music. It had been scattered throughout. So the next logical step was to bring it to the forefront. An album about modern life. An album about consumerism. And just the packaging to showcase it.

With its blank white style, and “item number” for random assortments of useful and not so useful things to buy, it could be seen on the standard edition, singles, deluxe edition box set, even a special one of a kind box set with a price tag of £10,000. It was on the websites, the music videos. This blank “future” (or present), was everywhere, staring us in the face whether we wanted it or not.

Musically, the album has been divisive, which is probably why it’s taken me so long to write this review. I wanted to approach it unbiased, but with so much build up, it was hard to become unbiased. Maybe it would have been easier if the album hadn’t been so delayed by the COVID 19 Pandemic. But that also shaped the album by giving Steven more time to change track orders and work on bonus songs.

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So here is my take:

Part of what made this album so hard to review was the fact that most of it was already released by the time it came out. With each single, the songs had their lovers and haters. I didn’t want to get lost in this because it always makes a difference hearing it by itself versus in the track order. All we hadn’t heard was the “intro”, and the last two songs (“Self” was also released before my copy finally arrived).

The album begins with “Unself”, a simple melody and chord progression over an electronic drum beat. It’s good enough to be an intro, but my issue is that it doesn’t flow well into “Self”. Even a better transition would have made this combo of songs absolutely crushing.

“Self” is a great first song. it introduces the style of the album perfectly. The electronic style mixed with 80s pop. Female background vocals come in on the chorus and lower vocal octaves come in on the verses. The song is enhanced by its appropriate and memorable music video, something that could also be said for “King Ghost” and “Personal Shopper”.

Speaking of “King Ghost”, it’s a great follow up to add contrast with its ethereal style. It moves away from the funky Prince style of the first song to a more trip hop style, reminiscent of Massive Attack. Steven’s falsettos may be a turn off to some people, but it’s a great song that feels just a touch too short.

Up next is “12 Things I Forgot”, which is one of my favorite songs on the album, but is kind of an awkward song after the ambience of “King Ghost”. It os a poppy song that reminds Steven fans of his work with Blackfield. Great sound, catchy chorus, and a nice guitar tone at the end that could have become a full fledged solo (however Steven seems to be taking a page out of Aviv’s book and is going for the least amount of deviation as possible).

After this one step away, it goes right back to the darker and funkier tone of “Eminent Sleaze”. This one caused controversy when it was released as a single. It has a similar combinations of sounds as “Self”, but more focus on groove rather than the driving electronics. There’s some Pink Floyd in the guitars and keyboards, but it’s the lyrics that seem to turn people off. However, it’s a fun song to sing along with and I can imagine people dancing to it live.

This leads us to the first single, “Personal Shopper“, the longest song on the album. It’s got a Nine Inch Nails feel, combining dark EDM (electronic dance music) with ambience, the female backing vocals, falsettos, and a heavier feel than most of the album. It also has a middle section with Sir Elton John naming off products to buy. As a single, this middle section was unnecessary, but in the middle of the album, it helps get the point across and provides some much needed downtime in an album that mostly just flies by.

The last two songs on the album are ones that are ok, but not strong enough to send the album off on. “Follower” is a driving rock song with a repeated hook, that just doesn’t do much for me. It’s upbeat and sounds cool, but would have done better to build up the album before all the great songs that came before it. And “Count of Unease” sounds like Steven’s most uninspired ballad. No strong hook, no big finish. Final ballads are usually his specialty, but it feels so out of place at the end, and you wish there was a “Happy Returns” you could leave off with.

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This would be the end of the normal review, but I quickly want to grow through all the leftover songs that appear on other formats.

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On the Limited Edition Deluxe Box Set:

CD:

1. “Personal Shopper (Extended)” – an almost 20 minute version of the song to get lost in. Complete with Elton’s part done twice.

2. “Unself (Long Version)” – honestly doesn’t add much, but probably would have been a better build up/transition to the album.

3. “Ha Bloody Ha” – feels more like older Steven Wilson music, and definitely would have been out of place on this album.

4. “Move Like a Fever” – maybe my favorite song to have gotten left off. Dark, danceable, and has really cool sequencing. Hypnotic and memorable. Could have replaced “Follower”.

5. “King Ghost (Extended)” – Steven heard my request and made a longer, more chill version of this already great ambient song.

6. “I Am Cliche” – lives up to its name as the most generic sounding song thus far. A beat that sounds like it could have been for “Eminent Sleaze”, lack of catchy chorus, and a guitar riff that is ok, but I can see why it was left off of the main disc.

7. “Wave the White Flag” – this feels like what “King Ghost” could have been. Lots of similarities, but instead it’s done in that late 90s/early 2000s Porcupine Tree style when Radiohead was a big influence on Steven. Great track.

8. “Eminent Sleaze (Extended)” – another extended dance version like the other two we’ve had on this disc for far. The track takes its time to build on itself and contains all your favorite parts from the original.

9. “In Pieces” – A dark but driving track that has a lot of Depeche Mode influence. Interesting melodies, keyboard arpeggios, and murky guitar tones.

10. “Every Kingdom Falls” – In my opinion, would have been the better closing ballad instead of “Count of Unease”. Darker and sadder, and has that strong Tom Yorke feel. Also shorter and more to the point.

Cassette Tape:

1. “Anyone But Me (Demo)” – A Beatles and Electric Light Orchestra-ish pop song with backing vocals and harmonies, and a familiar chord progression that we’ve heard in countless songs, but all of the familiarity helps the point of the song and drives it’s lyrics and catchy chorus home. Supposedly, the official version will get released in its own format, maybe as a tour only edition.

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On the Eminent Sleaze Single (Released on CD and Vinyl)

1. “Eyewitness” – Another track that could have replaced “Follower” in my opinion. 80s dance beats mixed with Tangerine Dream keyboard sounds and backup female vocals.

2. “In Floral Green” (Lonely Robot Cover) – an excellent cover of a very Steven Wilson like song. A spacey ballad by John Mitchell, also known from the bands Frost*, Kino, Arena, and It Bites.

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From the 12 Things I Forgot Single (released as a vinyl only)

1. “Move Like a Fever (Alternate Version) ” – an extended version (2 minutes longer) of the already great song that can be found on the bonus disc of the album. The definitive version of the song in my opinion.

2. “King Ghost (Tangerine Dream Remix)”- If you thought the song was ambient to start with, this is an extended version by one of the great ambient artists of all time. Exactly what any fan of both artists could want!

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Released on the Ultra Deluxe Version of the album, limited to just one copy.

1. “The Tastemaker” – released as a one sided 7” single, and graciously shared by its owner who also made a video to it. It’s a quick and easy song that expands on the sound and lyrics of “Eminent Sleaze”, without as many falsettos. Not worth £10,000 in my opinion (I’m joking of course, as I know the boxset came with way more than just this one song), but we are very fortunate that it fell in the hands of someone who actually released it to the public. Cheers to you Alan!

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And that’s my review. It may not be close to being my favorite Steven Wilson album, but it provides many great songs that will fit well into his already amazing live shows, and the bonus material provided us with a wealth of material, so it’s not just the quick 40 minute album that we look to. I definitely would not want Steven to stick to a specific sound. The beauty has always been watching him try his hand at everything. I’m sure if the next one sounds very different, it would silence the haters of this one. We’ll just have to wait and see what comes next.

Zeal and Ardor – Wake of a Nation EP (2020)

Like the previous two releases by the band, it’s hard to explain this new release by Zeal and Ardor without explaining how the band first got it’s start.

Manuel Gagneux would post on 4chan, asking people to combine two genres together. He would then make a song blending the two styles, as a challenge to himself. When someone posted black metal, and another posted n***** music, he could have gotten mad, but instead, he ran with it, and asked the question, “what if American slaves embraced Satan instead of Jesus?”.

The result was a song in 2013, a demo in 2014, and a full length in 2016.

Two albums later, Zeal and Ardor sounds like no other band. The heaviness, instrumentation, and darkness of black metal combined with the soul and power of negro spirituals, not to mention the influence of some industrial music. They were able to confront a part of history that wouldn’t feel right by almost any other metal band. And despite the racist parts of black metal brought in by NSBM bands (National Socialist Black Metal), Gagneux said there was a lot of similarities in the two styles fueled by rebellion.

But the year 2020, brought something else to the forefront, during the COVID 19 pandemic. While the world was in lockdown, the murder of George Floyd brought protests, civil unrest, and frustration. And while deaths of black people by the hands of white cops was something that had sparked controversy in the past, the lockdown and social media took it to heights it had never seen before. The world took notice, and protests happened everywhere.

Emanuel wrote a batch of songs in response to what he was seeing, and knew that it had to be its own thing. It wouldn’t fit with the new Zeal and Ardor material he was working on, and yet, Zeal and Ardor had to be the metal band to talk about it, like they were with slavery.

This become Wake of a Nation, and the artwork said it all; two police batons creating an inverted cross.

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The album starts with “Vigil”, and the piano ballad element sounds like a complete transformation before their quintessential sound comes in on the chorus. It does not hide, or shy away. It directly starts out:

You took all we had away
You’re quick to call it sick
But we’ve been damned to say
“I can’t breathe, it’s a cellphone
Please don’t shoot, I need to get home
I’m on my knees begging please”

So you’re just following orders
They just keep falling on us
How many more will it last?
Why not just take all of us?

Due to its intense nature, I can see this one becoming not only the favorite of this EP, but a standard in Zeal and Ardor setlists for years to come.

Next is “Tuskegee” which is about the infamous Syphilis Study from 1932 to 1972. 600 African American men were observed for untreated syphilis. 399 of them were diagnosed with it, but were never told what they really had (they were told they had “bad blood”), they were never treated despite syphilis becoming treatable by penicillin in 1947, they did not receive the free health care they were promised, and were given placebos and other ineffective treatments. They were never warned of the symptoms, or the fact that it could be spread to others. 128 of them died to complications, 40 wives had contacted it, and 19 children had it passed on to them.

You can see why this is such an angry song, compared to the sadness snd frustration of the first one, and we quickly see both sides of Zeal and Ardor’s arsenal. This contains some of the best black metal shrieks and low growls in the band’s short existence. It also ties to what we are currently seeing with vaccination rollout, as communities of color continue to struggle with trusting healthcare officials after so many instances like this one. An informative, and hard hitting song.

“At the Seams” keeps a steady rock beat as it goes back and forth between a two piano note ballad feel to it’s heavy black metal counterpart. The softer parts show the diversity of his singing voice with harmonies snd some nice lows. The heavy moments feel like the climax of a post rock song. It even has spoken German at the end saying:

“He told you he couldn’t breathe
For eight minutes
A scream in the dark”

Before letting out an appropriate bloodcurdling scream to finish the song.

“I Can’t Breathe” is a minute long interlude with real soundclips from protests, news reports, and cellphone footage on top of an industrial rhythm and some emotional wordless vocals. My only complaint is that it comes at a weird place, when I feel it would have had more effect at the beginning or end. This goes straight into:

“Trust No One”. Probably the most similar song to their past two releases, it has the call and response elements of the clean vocals, then switches to black metal, for the remainder of the song. It is sludgier than “Tuskegee”, and reminds me of Deafheaven, who must have rubbed off a bit on their tour a few years ago.

The final track is the title track, which sees the call and response at its most complex. This is all done over some NIN bass/keyboard tones, and is heavier than any song with hand claps should be. The layering is incredible, and again, it could have been a great opener, but is interestingly placed as the closer.

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My problems with the album are solely with the length and track order. Almost every song feels too short. Some could have benefited from another verse or chorus. Some could have benefited from an extra section. Some could have benefited from switching locations. But that said, every song brings something special to this release. They all could be done live and will enhance their already excellent live show. And maybe that’s where these songs will really flourish. But this EP as a whole leaves me wanting another song at least. The material is good and worthy of praise. And I’m sure there’s so much more that the band could have said.

I guess, as is the case with most EPs, it will hold us over until the next release. But I also think it was a very smart move to get it out as quickly as possible to be with the times as they were happening. It is a time stamp, and will always elicit emotions upon each re-listen, as we are transported back to the spring and summer of 2020.

I would love to see the band tackle more material like this, but even if they don’t, this was a powerful release, and one that shouldn’t be forgotten. We are fortunate that Zeal and Ardor took it up to themselves to say something for the metal community during these trying times, and release an album in the name of George Floyd, Eric Garner, Michael Brown, and so many others.

Manchester Orchestra – The Million Masks of God (2021)

The newest album by Manchester Orchestra draws attention to its uniqueness with its album artwork. From the bright pink to the computer generated element, it continues the surrealistic element of its previous release’s artwork, bringing the black and white scheme to a more modern feel.

The music does that too.

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Manchester Orchestra has expanded their sound with every release, and have definitely matured as well. Their debut feels dated, from its Polaroid album cover, to its simple production. But the band has always been driven by singer/guitarist Andy Hull’s sense of melody and unique turn of phrase in his lyrics.

Mean Everything to Nothing continued this sound, Simple Math showed its improved production with a greater focus on layering, and Hope and Cope showed the two sides of the band, the hard rock (almost sludgy) interpretations and the stripped down acoustic interpretations of the same songs.

A Black Mile to the Surface was their most cohesive album, with a flow, a mindset, and a purpose. This took their live shows to the next level. Big production, expanded lighting, and some of the most powerful and clear mixes I had heard in years. They utilized this mentality, for their next release.

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This album feels like the most pop, produced, and mainstream sounding thing the band has ever done. This might be an instant turnoff for some people who will accuse the band of selling out. But with repeated listens, you realize, there is a lot to uncover.

The album was inspired by the death of a family member, and deals with acceptance, the transition of body and spirit, the afterlife, and hope. This may not be instantly apparent. Despite its more electronic focused sound, simple chord progressions and structures, and familiar techniques with vocals and keyboards, this album doesn’t immediately jump out at you in terms of catchy choruses. Andy’s usual unique lyricism isn’t as obvious either.

The band has expressed that like a movie, it is supposed to be listened to in one sitting. And because of its concept album tendencies, lyrics, themes, melodies, and ideas are repeated. That explains why it initially felt blurred together.

But their previous album had great flow and still had a strong sense of individualism for each song! So why wasn’t this jumping out at me yet?

I knew it sounded good, but after a listen, couldn’t remember any hooks.

This is because the band deliberately wanted to avoid the individualism of the songs. It truly is the opposite of its previous release. Only in understanding the flow of the album, do the themes and catchy melodies reveal themselves, and that is when the album is most enjoyable.

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Starting with the big opening of “Inaudible”, the church like vocals sound huge, especially when the rest of the band comes in. This feels more like the beginning of a play, rather than a movie, and transitions into the darker “Angel of Death” which starts with the kind of wordless vocals you’re use to on the radio these days. The driving rhythm hits a big chorus, and reminds me very much of one of my favorite bands, The Dear Hunter.

“Keel Timing” is the funkiest song the band has ever done, and let’s the infectious groove be its main focus. “Bed Head” builds off of its rhythm and melodies while returning to the darker tone of the “Angel of Death” verse. The industrial and electronic tones, high harmonies, and chorus have gotten stuck in my head over and over since first listen. Definitely a highlight of the album.

“Annie” follows with a simple delivery, and brings the album down for its gorgeous first ballad “Telepath”. A short acoustic driven piece, this might actually be the first melody that sticks in your head upon first listen.

“Let it Storm” starts as a ballad that while it doesn’t get heavy, has a profound full band hit in the chorus, while “Dinosaur” has an electronic vibe that reaches a hard-hitting climax towards the end. “Obstacle” follows suit of “Let it Storm” and it’s clear there’s a deliberate reason that the album starts heavier and darker and ends softer and more beautiful. It represents the transition of life, and the acceptance. It strays from the questioning, doubt, and fear, and has a nostalgic certainty. It’s absolutely beautiful.

“Way Back” continues this and lulls the listener, not to sleep, but more like through a trip in the clouds. And this all sets up the final “The Internet”, which reminds of their previous album closer “The Silence”. While it never reaches the same climax of that one, it see similarities in melodies and lyrics, as well as it’s airy and twangy guitar tone. It ends with an allusion to “The Boy Who Cried Wolf”, something that has made appearances throughout the album.

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It’s a fickle album in who it will impress and who it won’t. People who like the band already will like it with repeated listens, and people who like pop music will like it, as it is their most accessible album to that group. But to certain fans of rock who have not gotten into them yet, this might not be the best choice of an introduction. The mainstream elements might be a turnoff, and they might do better to come back to it after they’ve experienced previous albums (Cope and A Black Mile to the Surface for the rock and metal fans, their first two and Hope for the acoustic or indie crowd).

That being said, there’s enough to digest here that it is a rewarding album with repeated listens. It is fun to connect the dotes in terms of shared lyrics and melodies between songs. There’s enough to appreciate in terms of beautiful melodies, production, and thought-provoking lyrics. And these songs are gonna feel huge in a live setting.

It may seem repetitive at first, but I implore you to give the album another try if it wasn’t for you on first listen. It might not be the catchiest album they’ve done, but it is an excellent step for the band in terms of pushing themselves and will reward them with acclaim and popularity in the long run.

Godspeed You! Black Emperor – G_d’s Pee AT STATE’s END (2021)

With the COVID 19 pandemic a few months in, and scattered great releases coming from Katatonia and The Ocean, I said to myself…

“Where is Godspeed”?

The post rock band has always been a perfect soundtrack for the end of the world, alongside the absolutely crushing and most devastating moments by Japanese outfit Mono. And despite their lack of lyrics, they have found a way for their music to convey strong political connotations, whether through soundclips, song names, artwork, linear notes, or even images projected behind them in a live setting.

And a global pandemic, plus political turmoil, racial tension, classist division, among everything else we experienced in the year 2020 seemed only too fitting for what Godspeed has been saying all along.

But Godspeed didn’t emerge to gloat, because…. when you’ve been right all along about devastation, it doesn’t make you feel any better. It doesn’t make the situation itself any better.

True, most of the music on this new album was actually written before the Pandemic was even a thought for the average citizen. In fact, the last time I saw them, they played what was then known to us as “Glaciers” and “Cliffs” (thanks to diehard fans online). And what I can remember of these songs that amazing night in Los Angeles was how melodic they were. They provided more introspective moments than the chaotic but brilliant songs that they played from Luciferian Towers with Patrick Shiroishi on saxophone. And it’s wonderful to finally hear them on album form.

This is the 4th album in a row by the band to feature a similar format: 2 long songs and two shorter songs (or 2 melodic songs and two drone tracks, since what’s short for them is still longer than anything most bands can release). This has been their track list of choice since returning from their hiatus. Depending on the mood of the album, the format can provide comfort to the listener like in the beautiful hypnotic repetitiveness of their previous release, or it can provide some bleak and powerful releases such as on the two before that one.

This time around, it doesn’t have the anger that the band is able to achieve in their most punk rock moments (as far as post rock goes). It reminds me of T.S. Eliot’s famous quote:

“This is the way the world ends, not with a bang, but with a whimper”.

Fans of early Godspeed will be happy to notice two things right off the top:

1. Multipart song names (representing the different parts or “movements” to borrow the term usually used for classical music). Sure two songs on their previous release were multi-part. But for Godspeed fans, the longer a song’s name is, the more they like it.

2. The first song starts with the use of field recordings, something that has been lacking on the recent releases by the band.

After a few minutes of the soundclips, a distorted violin comes in, almost like a political march gone wrong. After fading out for a while the band comes in with what will surly be an iconic moment for them: “Job’s Lament”. The buildup of guitar and bass before the full band joins is nothing short of brilliant.

This jam session goes straight into “First of the Last Glaciers” which is heavy but extremely melodic. The band is really showing their hard rock skills, incorporating it amongst all the tones, effects, and droning. They even show off some odd time signatures in this section which is a great step for the band. More than just the ups and downs of normal post rock, the band continues to challenge themselves all these years later, while still paying tribute to the sliding guitars that were prevalent on their debut. The song ends with a minute of bird chirps and gun shots. When it’s all over, you can’t believe how fast 20 minutes can pass.

“Fire at Static Valley” in contrast is 6 minutes, and showcases the melancholic side of the band. Almost like the sad realization of your dreams dying or nightmares coming true, it is a swan dive into harsh realism when compared to the driving rhythms of the first song. Haunting, nostalgic, and similar to things we’d expect off of Lift Your Skinny Fists or Yanqui U.X.O, it shows that the short songs on this album are not gonna be easy endeavors, but that they are just as crucial as the longer ones.

The second long song also starts with a soundclip, this one of a voice and static. Similar to the first song, after about two minutes this is broken up by the bass, and then a distorted guitar and a violin. This haunting melody is repeated while the drums slowly build up like an orchestra getting in tune, or a rhythm finding its way.

Once it gets going, it continues the eerie vibes of the previous tune, giving off those old, classic Godspeed vibes. This goes on till the 11:22 minute mark, when the song goes from the “Government Came” section to the “Cliffs Gaze” section. The song briefly drops out before introducing its new melody, which is among the most positive sounding moments the band has ever created. Like a celebration amongst the darkness and the mourning, it emerges and completely changes the tone and pacing of the album.

It gives the album a full trajectory from its low points to its high points. The full experience of the human soul if you will. As Rod Serling would say, “between the pit of man’s fears, and the summit of his knowledge”. That’s where this album lies. Church bells bring the song to a close, almost around the 20 minute mark.

The album is closed with a 6 minute and 30 second piece called “Our Side Has to Win”. If the previous songs show their rock side, their melancholic side, and their uplifting side, this one shows their knack for classical music. Somewhere between an orchestral piece and a string quartet, it is the perfect closing music for a film (to quote Radiohead). After everything you’ve heard, it slowly fades away, and lulls the album to a perfect close.

While it might not be the most experimental album the band has released, I can definitely see it becoming a fan favorite. The melodic passages provide the band a wealth of material in a live setting, in a discography that is already hard enough to concise to a 2 hour setlist. From start to finish, it seems clear and focused. Every second has meaning, every section serves purpose, and every piece plays well with everything that came before it and came after it.

Some fans might want Godspeed to have emerged from the pandemic with the darkest album ever. Some fans would have wanted Godspeed to blatantly wave a flag that says “We Told You So”. But Godspeed is too classy for that. Instead, they come to provide a message of hope. They instead chose to say with this album:

“Yes, we see what’s going on. Yes we know that times are tough and things look bad. But yes there’s going to be the other side of this, and we will all see each other soon”.

And from a band who has always preached of the apocalypse, it couldn’t be more comforting to hear this message loud and clear. Especially since they just announced a world tour for 2022.

Things are indeed looking up.

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Photos courtesy of Constellation Records.

Evergrey – Escape of the Phoenix (2021)

I recently reviewed Evergrey’s previous release, The Atlantic, in anticipation for this one. While that was another solid release from one of the most consistent bands in metal, it did leave me with a slight worry:

Were we about to see the final step in a complete transformation of Evergrey?

And by this I mean, were the days of experimentation and melodic ballads gone in favor of this heavier sound?

True, Evergrey has always been a heavy band, and each album has brought something new to the table, but The Atlantic chose to focus more on the de-tuned sound. You could argue it also saw a resurgence of keyboards that we hadn’t seen in a while for the band, but I couldn’t shake this feeling. The lack of guest vocals, or completely soft moments made it feel slightly one dimensional in their discography, and I always leave the album wanting…..

Something extra……

However, the release of Tom’s Silent Skies album with Vikram Shankar showed Tom could still belt out the ballads. In fact, that album almost makes you wish that some of the songs from it had combined with The Atlantic for the ultimate Evergrey album. But I guess I shouldn’t complain about MORE music right? That’s just my OCD.

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The reason I start this review this way is because both albums seem to directly influence this latest release.

After three albums of Tom looking into himself, finding strength, and making two huge transitions in his life (divorce from longtime spouse Carina, and re-marrying), Tom has crossed The Atlantic so to speak, and this new album is representative of his fresh start. We are thus treated to the heaviness of The Atlantic mixed with the emotional depth of the Silent Skies release.

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Album opener, “Forever Outsider” doesn’t feel like a typical Evergrey opener. They’re usually a little more drawn out. It’s been a while since they get right into it, like they did with Monday Morning Apocalypse. And it’s infectious hook is subtle. Might not grasp you the first time, but after a few listens, you’ll be walking around and humming it. When released as a single, I was worried that this song as opener was a bad sign. Luckily, I now see it’s purpose.

“Where August Mourns” does fall into sounding like a typical 2nd Evergrey song. They always like to provide a groovier song after making a statement with the first. The electronic sounding keyboards and bass tone sound amazing, and already provide great diversity from the first song. Another brilliant chorus and another blistering guitar solo from Henrik Danhage.

“Stories” is the first major surprise. A ballad?! Already?! Clearly, I worried for nothing. Tom’s voice over Rikard’s piano always feels like coming home after a long journey. The full band and distortion does eventually come in, and the chorus took me a while to appreciate, but the major chords, bluesy guitar solo, and tapped harmonies are the kind of experimentation that I was looking for. Clearly, we’re on the right track.

“A Dandelion Ciper” might not be one of my favorites on the album, but after “Stories”, the guys are allowed it. This song goes back to the style of the first one. The guitars almost sound like djent, and the keyboards sound like 80s electronic and goth music. So I guess I can’t really complain. Even if it is one of the more generic sounding songs on this album, there’s tons of tones to discover beneath the surface upon repeated listens.

“The Beholder” was another song released early, and is probably the biggest news of the album: guest vocals by James Labrie of Dream Theater. it has the groove of the 2nd song, and it’s no surprise that the keyboards sound like something off of a James Labrie solo album. The chorus is soaring, and the duet is the stuff that dreams are made of. James’ delicate touch compared to Tom’s soulful delivery adds great contrast, before they sing in unisons and harmonies.

This leads us to… a second ballad?! We’re really cooking now! “In the Absence of Sun” gives me Fates Warning/Redemption vibes, possibly a direct influence of Tom’s time in the latter. It also has a melody in the chorus that reminds me of an Evergrey classic; “Harmless Wishes”. Whether this is intention or not doesn’t really matter. Like “Stories”, it utilizes the soft moments and heavy moments so well, showcasing not only their dynamics and transitions, but also Tom’s ability to adapt over the changes. It also has an interesting solo that might be the closest Evergrey gets to doing a Slayer solo.

“Eternal Nocturnal” starts with a driving rhythm before an interesting key change and a chorus that reminds me of their song “Passing Through”. This was another chorus that took me a while to appreciate, and while it’s not one of my favorite songs on the album, there’s no denying the Iron Maiden like dueling guitar solo extravaganza. The transition back into the final chorus is also a part that had me scratching my head at first, but I find myself complaining less and less.

The title track is one of the heaviest songs the band has ever done, until it gets the to the chorus, which has a nostalgic element to it. We are hearing melodies that feel like Recreation Day era Evergrey, just with Gojira playing underneath it. It also has one of the more memorable guitar solos with its dissonance, and its dive bombs.

“You From You” is the third and final ballad on the album, making this one of the most melodic Evergrey albums, despite the modern heavy metal approach on many of its songs. Fans of Tom’s moments of fragility will love this one, as he sings “I can’t save you from you“. Great vocal doubles on this one, and another brilliant blues guitar solo.

“Leaden Saints” has a great intro and a Symphony X like element in the background, but one of my least favorite chorus on the album. I feel like it’s purpose was to bring things back up after the ballad, but also before the final song does it’s job. Maybe it might grow on me like some of the others. I love the guitar work during the chorus, as well as the solos and riffs. Good, but more of the same on an almost hour long album.

Finally we end with “Run”, which might not be one of Evergrey’s most exciting choruses, but a fitting song to an album about escape. It’s got a unique keyboard tone and an anthemic chorus. It reminds me of the way Kings X closed Dogman with “Pillow”. A simple chorus that anyone can sing along to. Not the most interesting song on the album, but leaves you feeling hopeful… powerful.

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It may not be a perfect album. It may not even be close to one of Evergrey’s best. But 12 albums into this bands career, they continue to stick to their guns and do things their way while adapting with the times. Each album has its own feel and attitude. They continue to experiment with modern tones, adding a heaviness not seen on early albums. But it’s good to know that as they experiment, they never lose their melodic touch. You can always expect blistering solos. You can always expect catchy choruses. And as Evergrey fans, we couldn’t possibly ask for more than that.