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.
This was perhaps one of my most anticipated albums in quite sometime. However, as a Steven Wilson fan, I also knew not to expect an album like anything that came before it. This is a review of thee long awaited reunion album of one of the most loved Prog bands.
Porcupine Tree went on hiatus in 2010, at the height of their popularity, so that founding member/singer/songwriter Steven Wilson could focus on his solo career. Much has been said over the years, and without turning this into a “he said/he said”, let’s just focus on 2022. The band announced a new album, without the inclusion of former bassist Colin Edwin. The trio (Gavin Harrison on drums, Richard Barbieri along with Steven also fulfilling bass duties) have left their fate open to interpretation. Is this the swan song PT fans never got, or a sign that there’s more PT to come? I think the upcoming tour will determine that. But in the meantime, let’s talk about the new music!
4 tracks were released ahead of times as singles. I listened to the first two (the first two tracks on the album), before waiting to hear the rest in one sitting. Hearing songs out of context can always be underwhelming, and with so much riding on this album in my mind, I was already feeling that way about the first two. I wanted to give the rest a fair chance. I’m happy to say that doing so has changed my mind about these tracks.
The album starts with “Harridan”. This 8 minute song begins with a funky bass riff, similar to Primus. This style of bass playing already clashes with the soft full tone you would expect from Colin, but is more in line with Nick Beggs work on “Luminol” from Steven’s solo album The Raven That Refused to Sing. Gavin and Richard’s style are immediately evident. Gavin’s complex yet clear and precise drumming suiting the groove, and Richard’s ambient keyboard tones filling in the empty space. It is an upbeat and driving tune, with a very quick chorus. Tonal wise I loved it, but felt like it didn’t have a hook. Steven’s distorted vocals was a welcome return, and it has a wonderful soft middle section for contrast. Upon repeated listens, I realized the chorus had a better hook than I initially realized, and as an opener and reintroduction to the band, it is a definite success.
“Of the New Day” was the second single released and while it showed the ballad style that Porcupine Tree has always incorporated into their albums, having it second after such a big opener seemed like a drop in momentum. Also, the quick changing of odd time signatures seemed to make the pace more frantic, for what could have been a simple and beautiful song. The time changes become second nature with repeated listenings, and an upbeat middle section makes it so that you have already covered a lot of ground with these two tracks alone. I still would have loved to have seen a more stripped down version of this song later in the track list personally, but I can easily see it becoming a fan favorite.
“Rats Return” is one of my favorite tracks on the album. While the band has walked the line between Prog Rock and Prog Metal (starting with In Absentia in 2001), this song sees the band at their most full on Prog Metal. Starting with a riff worthy of Dream Theater or Haken, it quiets during the verse to the strange and ambient sound we know and love from Porcupine Tree, especially on the Fear of a Blank Planet album. While the riffs and dynamic transitions give the impression of complexity, the structure itself is very simple, and it includes all three members doing with they do best which is why I love it so much.
“Dignity” is kind of what I wanted “Of the New Day” to be as the second track, though it works quite well in the middle of the album as well. It is a delicate and beautiful song, that takes its time to build up, and has some wonderful harmonies, melodies, and lyrics. I especially love the classic rock riff after the chorus. It blends old and new quite well with the mellotron sound of the 60s meeting Muse like keyboard sounds in its bridge. It also has one of Steven’s best guitar solos over an electronic drum beat before returning to the song, and the huge finish at the very end is an added bonus. This song will sound massive live.
“Herd Culling” has similar issues for me as “Of the New Day”. It is a heavy track with glimpses of the last two songs of Fear of a Blank Planet, and should be on the same level as “Rats Return” for me in theory. But these two songs are some of the rare occasions where I feel like the band focused more on odd time signatures than suiting the song (something, Steven has often said is never his focus). The time signatures in my opinion make the song too frantic (something that is obviously it’s intention), but take away from the heavy riffs, throughout or the great vocal melodies in the middle of the song. Maybe it’s just my ear struggling to hear the rhythm, but as a fan of lots of complex bands and songs, these gripes are not something I expected to have on this record.
“Walk the Plank” is possibly the most straight forward song on the album, but it’s also very effective because of that. It incorporates the electronic and industrial elements of “Bonnie the Cat” and the title track off of The Incident with the funky grooves of “Eminent Sleaze” off of Steven’s most recent solo album The Future Bites. It is a great song to place on the second half of the album because it is amongst the darker and more complex tracks, but it does not lose the overall feeling of them.
“Chimera’s Wreck” is the epic closer, clocking in at 9 minutes and 40 seconds. If “Dignity” was the more uplifting counterpart of the 1960s Prog inspired songs on the album, “Chrimera’s” is the sadder and darker tune. With a Genesis like arpeggiated guitar intro and an ethereal call and response during the verses, the lyrics are amongst the saddest lyrics; a bold statement for a man who has made a career exploring that side of the spectrum. The main hook contains the lyrics, “I’m afraid to be happy and I couldn’t care less if I was to die”. This hook builds up with great bass playing and Gentle Giant like wordless vocals. This is followed by great riffing, a guitar, falsettos, and an abrupt ending.
Every song on this album has merit, and in total, it is probably the band’s most progressive AND most metal album. However, the flow of the album is not nearly is good as that of the last few releases by the band, and once it is over, you struggle to remember exactly what it is that you have listened to. Repeated listens will obviously help with this, and every song would be amazing to see live. But as a complete album, I have trouble seeing it in the same realm as Fear of a Blank Planet or even The Incident. Plus, some of the bonus tracks from the deluxe edition were great and could have helped the album with flow and pacing. And as a fan, I’m tired of dishing out $100+ for a few extra tracks that should have been on the finished product. But with all my complaints, it is wonderful to have new PT in the world, and I’m hoping it won’t be the last.
Cult of Luna by the time of this release had already established themselves as one of the “big three” of Post Metal alongside legendary bands Isis and Neurosis. They are known for their consistency and forward thinking approach. For me, they had already been a part of two of my favorite albums of all time, with Vertikal and Mariner (alongside American vocalist Julie Christmas). But their previous albums were no slouch either.
Following those two albums couldn’t have been easy, and I may have been tough on reviewing the follow up, 2019’s A Dawn to Fear and the companion EP, 2021’s The Raging River, which both did grow on me with repeated listens. But sometimes the biggest problem with ambient types of music is that it can get lost in the ambience, and forget about the song at its core. This is not the case with the shorter songs with clean vocals the band has every release for some time now, but some of the longer songs that have great riffs, but ultimately sound very similar.
Following quickly after those two releases, I hoped that this one would have a little more diversity, and while that’s not exactly what I found, I did connect with it a bit faster than with the previous two releases.
First and foremost, the album name, track listing, and album art are quintessential Cult of Luna atmosphere, so much so that you can’t believe it already hadn’t happened. For a band who has traveled musically and lyrically through countryside, cities, and even space, a journey through snow and barren lands is the perfect setting for their cold, dark, moody feel.
“Cold Burn” opens the album much like “The Silent Man” did for A Dawn to Fear and “Three Bridges” for The Raging River. It’s a driving song with brief melodic moments. But what they brilliantly do here is lull you into a false sense of security. When “The Silver Arc” comes in right after with a similar sense of urgency, you think it’s gonna be more of the same. But when it’s beautiful droning middle section complete with a bright bass tone you would hear on a record by The Cure or Tool appears, it hypnotizes you.
“Beyond I” the first surprise of the album comes at the perfect time. I shouldn’t say surprise since soft songs on their album are becoming expected, as well as guest vocalists, but they are what I look forward to since they provide so much needed contrast. Mariam Wallentin’s voice is haunting on this keyboard driven track with no drums. It reminds me of AA Williams, especially on her split with Mono. The band intelligently follow this up with the slow building “An Offering to the Wind”. With the tension and atmosphere of a Western film, the flow of the album starts to take shape, with its peaks and valleys mimicking the very landscape it describes.
After it’s epic climax, the album brings itself down again with the ballad “Into the Night”. Whereas “Beyond I” was more electronic and industrial driven, this one continues the country and western feel the band started on the previous track. It starts slow and brooding, building half way in to a full band ballad, with very unusual chord progressions. It reminds me of Radiohead almost, due to a mellotron keyboard tone, and a crooning vocal style. It is a different style for the band. Very ambient, and it shows their continued confidence in the variety of clean vocals. And while the sporadic appearances on these track listings don’t signify a complete change, this middle dip of forward thinking songs bookended by the heavier, driving tracks is what gives this album its wonderful and consistent flow.
Continuing with this thought process, the band does not just randomly pick it back up with immediate heaviness and urgency. They slowly build it up once more time with the short instrumental “Full Moon”, a beautiful blend of the country and western feel of the last two songs, with the electronic/industrial keyboard heavy tones of “Beyond I” all mixed together. The subtle changes of tone yet constant flashbacks to past themes gives this album cohesion, and flows perfect into “The Long Road Home”, which starts with some incredible slide guitar work.
Eventually the title track brings that intensity felt on the first two songs. The band really take their time on this album, in the best possible way. The title track is filled with fantastic dynamics and the production really shines on this one as you hear layering that simultaneously make you think of the cityscapes of Vertikal, the space of Mariner, and the countryside of Somewhere Along the Highway. Aside from obvious post metal references, bands and projects like Agalloch, NIN, Author and Punisher also come to mind.
“Blood Upon the Stone” the last real song and second longest song, acts as an epic closer, and doesn’t take as long as “An Offering to the Wild” to get going. Using the momentum from the previous track, it gets right into it. The extended middle section with delayed guitars, consistent drumming and subtle keyboard tones turns into an explosion of dissonant and post rock goodness. The vocals return over a repeated melody a builds to an incredible climax worthy of finishing off this group of songs. But Cult of Luna don’t leave you hanging.
The album officially closes with “Beyond II”, which is an ambient piece of drone, classical, and industrial, all mixed together. It was created alongside Colin Stetson who also helped provide soundscapes on “An Offering to the Wild”. Normally I’m not the biggest fan of instrumental ambient noise closing out an album. But after such a massive track and complete journey, I can see the need for it here. It eventually fades out, and leaves you ready to re-experience it all.
It’s always hard for a band to live up to a fan favorite. And while Cult of Luna might be in the fortunate position to not have one distinct one, they have certainly created a mountain for themselves to climb over on each new release. But the band gives off the impression that they don’t care… in the sense that they have nothing to prove, and aren’t making albums for anyone in particular. They do what they want to. Some aspects of that are new, some are what they do best. But they’re not going to completely change over night for new fans, nor are they going to stay the same for the old ones. And each new release has something new to give, but it will always sound like Cult of Luna. It’s up to you how much you want to invest in finding the differences. But don’t expect to write it off entirely as just another new album by them.
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.
(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 (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 TheGreatMisdirect. 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.
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.
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.
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.
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.
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.
I was recently inspired to start including lists on this blog, so I’m gonna start it with my favorite genre. When I talk about Prog Metal, I am talking about the genre starting in the 80s. Progressive Rock and classic 70s Prog albums will not be included. This is only focused on bands who combine Prog with the heavy metal genre. This includes bands that incorporate heavier styles such as death metal or sludge metal.
My decisions are made partly by their influence, but also because of me looking at the albums as a whole experience as well as personal bias. So my choices might not also be the expected album by a band. This is because some albums that others might consider to be classic contain songs that I don’t feel are at the same caliber as the rest of their album. Therefore, I chose other albums instead. I still might do a list in the future based on influential and/or personal favorite albums, but for now, this is strictly looking at albums I would deem as essential.
I also tried to focus on one album per band. Some bands could have obviously had multiple albums on this list. But I wanted to focus on the influence and diversity of the genre as a whole. And I stress again, this list is not necessarily in the order of best to worst or anything like that. A list of my “favorites” would be completely different. Think of this list as my gift for people who are trying to get into the genre and are just learning about these bands. Think of this as a roadmap on which bands and albums to approach next. So here it is, my top 15 essential Progressive Metal albums!
15. Evergrey – The Inner Circle
We start this list off with one of the more underrated bands on the list, but one of the most consistent. Evergrey is a progressive metal band from Gothenburg Sweden, and while their song lengths or structures don’t look progressive, it’s their attitude and approach that puts them in the genre. A blend of dark, melodic, conceptual writing, they turned heads with their 2001 album In Search of the Truth, which dealt beautifully with the ideas of alien abduction.
But their 2004 album The Inner Circle is their most balanced in my opinion. Dealing with themes of religion, cults, and child abuse, it has all the best aspects of the band. From the heavy and catchy songs like “A Touch of Blessing” and “Ambassador”, to the beautiful ballads of “Waking Up Blind” and “Faith Restored”, to the incredibly emotional ending of “When the Walls Go Down”. With guest appearances of female vocals, solos, and memorable riffs, this is the best album to introduce someone to Evergrey.
14. Haken – Visions
In 2011, it was a scary time for fans of Dream Theater. The band was going through their major lineup change from Mike Portnoy to Mike Mangini, a change that some fans still can’t get over. Fortunately, a Prog band in their style was ready to step up to the challange. Haken is an English Prog Metal band that formed in 2007 and released their debut Aquarius 3 years later. This concept about a mermaid was an incredible start for the band.
But the quickly released their next album Visions the next year. This masterpiece is a concept album about a boy who sees his death in his dreams, and spends his life trying to avoid it. Starting with the overture of “Premonition”, “Nocturnal Conspiracy” follows and showcases all this band is capable of. From technicality to emotional ballads like”Deathless”, it all comes together in the 22 minute title track, a satisfying and emotional roller coaster. The band’s follow up album The Mountain seems to be the fan favorite, but this one is perfect in my eyes.
13. Orphaned Land – The Never Ending Way of OrWarriOr
Orphaned Land are the undisputed masters of mixing progressive metal with Middle Eastern influence. Starting in 1991, they finally reached acclaim in the Western World with Mabool in 2004. Blending a variety of languages and musical styles, that album is an absolute classic and very easily could have been on this list instead of this one. So why did I go with its follow up?
Both albums are massive. This one is 15 songs and over 78 minutes. The amazing thing is that you never notice it’s length. Each song is so unique and important to the story. The flow from song to song is so well done, and you’re left to wonder how much of this was the band’s doing and how much of it was Steven Wilson’s doing.
Starting with the infectiously catchy “Sapari”, to the progressive “From Broken Vessels”, every long song is followed by a short interlude. And while I usually don’t like albums that rely on this idea, it is appropriate here, showcasing the band’s cultural influences as well as their metal side. Towards the end you are treated to some very heavy tunes before ending beautifully with “In Thy Never Ending Way”.
There are so many standout tracks and I’d love to give this a full review one day. For now, just know, this is a must experience.
12. Nevermore – This Godless Endeavor
From Seattle came one of the most unique metal bands. A band forged by thrash metal, hints of death metal, hints of Prog and power, but most interestingly, a byproduct of the grunge culture that surrounded them. From the pieces of the band Sanctuary came a band with an attitude all their own, and like Evergrey, they released a string of conceptual albums that left fans arguing over which one was the best one.
Some might say Dreaming Black Neon. I would even say that I personally prefer Dead Heart in a Dead World over this one. But regardless, no one would have anything to say against this one. Combining the brutality of Enemies of Reality with their melodic senses, this album produced some of the band’s most enduring work. From thrash classics like “Born”, “Final Product”, and “My Acid Words”, to the emotional ballad of “Sentient 6”, to the epic conclusion of the 9 minute title track. This is the band firing on all cylinders. RIP Warrel. We miss you.
11. Green Carnation – Light of Day, Day of Darkness
One of the defining characteristics of Prog is long songs. It’s the thing to do. Some bands have taken this to the extreme. And once in a while you’ll have the album length song. Some of these are more for the appeal, and some of them pull it off gracefully. This album is the best in that regard. A single 60 minute song, not broken into sections. No skips. Just the entire experience from start to finish. Thank goodness the music does it justice.
An album of life and death, inspired by the founding member’s own loss of a daughter and birth of a son. It contains memorable riffs, melody lines, choirs, heavy sections, occasional growls, and a middle section with a unique female vocal that is off putting to some, but creates tension a beautiful clash when the music returns in my opinion. One of my favorite albums to get lost in, and if you indulge in it, I think you’ll be glad that you did.
10. Pain of Salvation – Remedy Lane
Ah Pain of Salvation. This Swedish band has been around since 1991, but really started in 1984 under another name. Through all the changes it’s been Daniel Gildenlöw leading the way. What started out as a funkier Dream Theater, or what you get if you cross Dream Theater with Faith No More (his love for Mike Patton’s vocal style does shine through) has grown into something all their own. From unique concept albums and even a play like album in the form of Be, to incorporating rap style vocals and a few classic rock and blues influenced albums.
But before the changes, they mastered their Prog sound with a pair of perfect albums. And while I have no issue with people who prefer The Perfect Element, Part 1, Remedy Lane has always spoken to me with its emotional lyrics and equally matched music. With a variety of themes such as love, sex, loss, lust, and self-understanding, it is a non-linear story. Like the previous two albums, it is all about self-discovery. From the frantic dance of “Fandango”, to the emotional ordeal of a stillborn child in “A Trace of Blood”, to love songs like “This Heart of Mine” and “Second Love”, ballads like “Undertow”, heavy tunes like “Chain Sling” and “Waking Every God”, to the massive ending that ties it all together. It is an incredible package of songs grouped and tied together.
So I invite you, like Daniel once said, to “take a walk down Remedy Lane”.
9. Cynic – Traced in Air
I have probably lost all credibility by choosing this particular album by this band. If I was really only focused on influence, I would have obviously chosen their debut Focus. That 1991 release which blended death metal and jazz was so ahead of its time that the band broke up, and essentially came back when their influence of countless bands was finally acknowledged. I might do a progressive death metal list to spotlight that album one day, but for now, let’s focus on their comeback album, 15 years later.
What band strikes gold twice after being out of the game so long? A band that blends lyrics of mysticism, technicality, beautiful tones, occasional growls, jazz guitar solos and the incredible rhythm section of Sean Malone on bass and Sean Reinert on drums. From the opening build up of “Nunc Fluens” to the emotional closing of “Nunc Stans”, every song is a hit. Every song serves its purpose. Complex songs like “The Space of This” and “Kings of Those Who Know”, straightforward songs like “Evolutionary Sleeper” and “Integral Birth”, to the heaviness of “Adam’s Murmur” and “The Unknown Guest”. There’s something for everyone and it goes by in a flash. The fastest 34 minute album you’ll ever hear.
8. Mastodon – Crack the Skye
If you had only heard Remission, Mastodon’s 2002 debut, you wouldn’t expect them to be on this list. But after a concept album about Moby Dick and the slower melodic songs and 2006’s Blood Mountain, it was inevitable. 2009 saw the band’s most progressive album to date. An album that was influenced by King Crimson, Pink Floyd, and the writings of Stephan Hawking. With a loose concept about an astral projector who gets lost in wormholes and spirit realms, and gets tangled up with Russian cults, Rasputin, and ultimately the Devil, the lyrics are as Proggy as you can get.
Musically it matches it with its blend of straight forward heavy tunes, its space-y tones, its progressive moments, its long songs, and also its emotional parts. Balanced by the absolutely heartbreaking title track about drummer Brann Dailor’s sister Skye who committed suicide at the age of 14, it is the full package of great lyrics, great musicianship, perfect pacing, and the imagery and story to go along with it. Plus, it was a commercial success bringing Prog not only to metal fans, but to the mainstream as well.
7. Between the Buried and Me – Colors
If this was just my list of favorite Prog Metal albums, this would be number 1, no question. Not only is it one of my favorite pieces of music to ever grace my ears, but it was also a major turning point for the band. Starting out as a progressive influenced metalcore band, a few lineup changes helped the band grow and develop over the next couple of albums. But it was Colors that helped people take notice of the band, who still had a bad association with “screamo” music cause of their long name.
Colors is a 64 minute album that flows through like 1 song. It is tied together by theme more so than story but does showcase the band’s improved lyricism as well as musicianship. It would be impossible to describe all the styles the band goes through. It is an incredible ride from the piano build up at the beginning, to the surprising transitions, random jazz moments, heavy breakdowns, to Middle Eastern and Indian influence, and that’s just the first 3 songs. There are waltz’s, hoedowns, Jaco inspired bass solos, classical inspired guitar solos. There’s emotion, talent, guest vocals by Adam Fisher of Fear Before the March of Flames. There is so much to talk about on this album that the best thing I can do is just let you experience it for yourself.
Not only is it a brilliant piece of music, but it laid the foundation for the band they have become today. Through their many concept albums and tours with bands like Dream Theater, Opeth, Meshuggah, Coheed and Cambria, and The Dear Hunter, they have broken away from just being a metal band. They are a well-respected Prog band that keeps pushing themselves and their fan base. Many fans would argue that Parallax 2 should be here instead, but there’s no way I would ever choose that one over this one.
6. Tool – Lateralus
You all knew this album (or at least this band) would be on here. Tool has become synonymous with Progressive Metal. They are the most mainstream of all the bands on this list despite their long and intricate albums. Called the modern day Pink Floyd they are known for the laser light live shows, and for their blend of heavy metal with Middle Eastern and Indian influences.
Lateralus continues with them pushing the boundaries of music that they started on their previous album Ænima. There are subtle hints of the aggressive alternative metal that made them famous, but there’s more of an art rock approach. The songs were longer, more varied, and the instrumental interludes in between had more purpose than strictly breaking up the long songs. Now they helped buildup and create moods, pushing the album along like the great progressive rock albums of the 70s.
Aside from the obvious hit “Schism”, which is one of the bands staples, it contains countless important songs for the band such as the hard-hitting opener “The Grudge”, the ambient “The Patient” with its melodic hooks, the “Parabol”/“Parabola” duality showing both sides of the band, “Ticks and Leeches” which is one of the heaviest songs the band has ever made, and it’s beautiful and memorable title track, which has been studied for it Fibonacci sequence rhythm.
I’ve always been more partial to the pacing of 10,000 Days because of its pacing towards the second half, which I feel is a tad long and drawn out on this release, but there’s no denying it’s influence. There are countless Tool rip-off bands nowadays, and it’s all because of the importance of this album. It was a huge resurgence in the Prog genre, and opened the door for new and old bands to either have new or regained attention.
5. Opeth – Ghost Reveries
Another album choice that might receive harass criticism about the merits of this list and its write. Any Opeth fan would say the choice is obviously Blackwater Park. And while I acknowledge the influence and amount of food material on that album, it has never been a “perfect album” to me. It was a turning point for the band. It did start to see more progressive influence to their already interesting blend of death, black, melodic, and doom metals with folk. This is partly due to Mikael’s unique taste in music, and partly due once again to the looming presence of Steven Wilson. And while that album does include some of the bands best songs, it does tend to overstay its welcome. I will happily admit that a few of the songs have never really clicked with me.
And while that album started the boost in the band’s popularity, this album initiated another boost as well, and I think most people forget that. It was also almost a return to the concept albums, until Mikael decided against the full concept to incorporate some unrelated songs, which might have been to its benefit. From the heavy songs about the occult and satanism, to the beautiful ballads that give some much needed downtime, the pacing is perfect.
“Ghost of Perdition”, “The Braying of the Hounds”, “Beneath the Mire”, “Harlequin Forest”, and “The Grand Conjuration” are among the group’s most lasting heavy tunes. Melodic, catchy, brutal, ambient. All of them twisting and turning over the course of 8 to 12 minutes. And “Atonement”, “House of Wealth”, and “Isolation Years” taking what the band accomplished on Damnation, learning from Blackwater Park’s one ballad mistake. “Hours of Wealth” also contains what is probably Mikael’s best guitar solo to date. A hint of jazz to add a cherry on top.
4. Symphony X – The Odyssey
Symphony X are the neo-classical masters of Prog metal. Usually, neo-classical is thought of as strictly 1980s guitar shredders like Yngwie Malmsteen or associated with power metal bands like Rhapsody of Fire. But Symphony X put it in a band form with long songs and concept albums. They gained attention with their 1997 album The Divine Wings of Tragedy, which would be most fan’s choice for this list. However, despite starting strong and ending strong, I find a few of the tunes to sound cheesy and dated.
This album on the other hand is right before singer Russell Allen started focusing predominantly on his “gruff” voice as seen by their last few albums. So this one is really the best of both worlds. The more melodic approach of the early albums. The heavier and darker approach of the latter ones. The neo-classical solos and the groovy riffs. The ballads and the beautiful compositions. It’s all here, and it’s all represented well.
From the thrash-y tunes like “Inferno”, “Incantations of the Apprentice”, and “The Turning”. to the off time grooves of “The Wicked” and “The King of Terrors”, to the lush compositions of “The Accolade II” and “Awakenings”. And of course, no review or listen of this album would be complete without the epic 24 minute song based on The Odyssey which is one of the greatest progressive songs of all time in my opinion.
3. Fates Warning – Parallels
Out of all the bands on this list, I knew this was going to be the toughest choice to narrow down to just one album. Being one of the big three of Prog Metal, these guys alongside the next two bands on the list pushed the whole thing in motion. Taking influence from the 70s Prog bands and adding the thrash metal tendencies that was popular at the time, these guys started in 1982 and had three albums with original singer John Arch. Ray Alder came in for 1988’s No Exit, and the progressive sound started to really take the forefront.
The band has had an extremely consistent career since then, and to choose just one album is difficult because of all the different sounds and stylistic changes that the band has been through. I could have chosen No Exit with its aggressive sound and 21 minute masterpiece “The Ivory Gates of Dreams”. I could have chosen 1997’s APleasant Shade of Gray”, a 53 minute album that flows through like 1 song and doesn’t even have titles for each section, forcing you to remember it! I could have chosen any album after that which has been a brilliant adaption of modern metal with the 80s Prog sound.
But Parallels is the album that pushed them into the briefly into mainstream, with it’s infectious mix of talented musicians and catchy songwriting. Every song on it is memorable. They are all hits in their own way. They all have their hooks while still showing the band’s musicianship and focus. 6 of the songs (the first six in fact are still in the bands live rotation, “Don’t Follow Me” is the closest the band ever got to sounding like Iron Maiden, and “The Road Goes on Forever” is a fitting closer, ending on a ballad after all the metal.
My advice is give this album a chance and move onto the other ones I mentioned as well. These guys never got the credit they deserve, but they still go strong to this day.
2. Queensryche – Operation: Mindcrime
The album that started it all. Queensryche started out as a heavy metal band that balanced the razors edge between the punk influenced thrash metal and the radio friendly glam metal. They were the perfect band for the time, but that wasn’t enough, and the Prog influence that they showed glimpses of on their first two albums came front and center with the first progressive metal – rock opera.
Operation: Mindcrime is a concept album that follows the character Nikki who gets tangled up with a radical group led by Dr. X, whose main focus is assassinating political leaders. It’s lyrics of revolution, corruption, drug addiction, prostitution, living on the streets, women taken advantage of, killings, wars, and distrust of the government greatly contrasted with the glam mentality that flooded the airwaves. There were no parties, no glorifying strippers or drinking. There was the deep dark underbelly that people didn’t want to look at. A necessary album.
Musically, the Pink Floyd influence was strong with this album. It still had its thrash moments with songs like “Speak”, “Spreading the Disease”, and “The Needle Lies”. It had its anthemic songs like “Revolution Calling”, “Operation Mindcrime”, and its patriotic-like buildup “Anarchy-X”. It also spawned a few radio hits with “Breaking the Silence” “I Don’t Believe in Love”, and “Eyes of a Stranger”.
But it was the progressive elements that set it apart. Not only with the interludes and sound clips that helped push the story along and tie it all together. But also the beautiful, heartbreaking, and darker tones on “The Mission” “My Empty Room”, and of course the epic 11 minute long “Suite: Sister Mary”. That song, with its unique transitions, choirs, and female vocals, is one of the most accomplished songs I’ve ever heard.
If you haven’t listened to it yet, it’s a must.
1. Dream Theater – Metropolis 2: Scenes From a Memory
I’m sure everyone knew that this was the band that was gonna top the list. If Tool is the most mainstream Prog metal band, and Queensryche is the one who got it all started, Dream Theater is the band you immediately think of when you think of”Prog metal”. They have been carrying the flag of the underground Prog metal genre through all the dark years that forward-thinking music wasn’t cool. They achieved some mainstream success with their second album Images and Words in 1992. And they still draw large crowds to their shows to this day, 35 years into their career.
I easily could have chosen Images and Words as the number 1 slot of this list and no one would have batted an eye. It’s influential, it’s flawless, it’s still incredible after all these years. They did things during the era of grunge that no one else was doing. I really have no other reason for choosing this one over that one, other than just personal bias.
Scenes From a Memory is a sequel to a song from Images and Words that never actually ended to have a Part 2. “Metropolis Part 1” was titled jokingly. But the fans wanted it, and eventually, 8 years later, the band did it. The lyrics of “Part 1” were cryptic and never really explained. But the album was a full on concept album with spoken interludes, intros, and outros to help push the story along. The main character, Nicholas, has been suffering from strange dreams. Through hypnosis, he tries to find out what they mean. Eventually he learns of the murder of a girl named Victoria that occurred many years before.
Without too many spoilers, the 77 minute album (divided into acts like a play) deals with ideas of reincarnation, love triangles, affairs, drug and alcohol problems, gambling addiction, murders, and suicide. Musically it starts with its iconic intro before going into an overture. The album is Dream Theater at their best, with heavy upbeat tunes like “Strange Deja Vu”, “Fatal Tragedy”, the epic “Beyond This Life” (with its catchy chorus and Zappa-like middle section) and “Home” with its Middle Eastern influence. It’s got plenty of straight forward and beautiful ballads like “Through Her Eyes”, “One Last Time”, and “The Spirit Carries On”. It’s got one of the most intense and ridiculous instrumentals (“The Dance of Eternity”). And “Finally Free” ties the whole album together with its brilliant ending.
It’s technical, it’s emotional, and it’s so well thought out that it’s not possible for it to be overrated. I know people get tired of hearing about it, but it’s a classic for a reason. If you haven’t heard it in a while, sit down and enjoy the experience again. If you haven’t heard it at all, get ready to never look at music the same way again.
Fates Warning are the unsung heroes of the progressive metal genre. Never reaching the mainstream appeal of their peers such as Queensryche or even Dream Theater, despite being just as influential, they have continued throughout the years, releasing great album after great album.
With the announcement of a new album, we knew it would be no different. Even before their hiatus they had already adjusted with the times, and incorporated many modern elements to their 80s Prog sound. This was in part of the influence of Kevin Moore adding electronic keyboard elements, but is also a testament to their lineup,which has been a part of many other projects and find a way to bring all of those styles together in a cohesive sound. Despite the changes, it’s all still Fates Warning, and the fans wouldn’t want it any other way.
Long Day Good Night is their 13th release. It is 13 songs long, and if you add all the numbers in its length together (72:22 – 7+2+2+2) you get…… well you get the idea. It continues very much in the style of their last few albums. Combining heavy modern sounding riffs, big catchy, anthemic choruses, some electronic elements, at least a ballad, and at least one long song. And this formula works, because it showcases all the different sides of the band. The band even stated that was their particular goal for it.
Lyrically, it all deals with the idea of “home” which is very fitting for the state of the world that we are currently living in. During this Coronavirus Lockdown of 2020, we have spent more time at home than we ever have before, and the idea of the word changes. For bands, maybe home is being back on stage. Maybe the isolation means that home is just being back with your friends. Either way, this is the 2nd album in a row that I’ve reviewed that feels like it has been directly influenced by the quarantine, as Islands by The Flower Kings was as well.
Even the cover works on two fronts. Yes it fits the title and theme, but it also acts as a “return to home“ in the sense that it is their first album back with Metal Blade since FWX in 2004, and bears a striking resemblance to the cover for that one.
Musically, it takes a minute for the first track, “The Destination Onward” to get going, but once it does, it is followed by an excellent build up. The drums, guitars, and vocals are mixed beautifully and it gets you very excited about what’s to come. About 3 minutes in is where it really picks up and it keeps this heavy upbeat pace for the next 5 minutes. It is one of three long songs on the album, and showcases the bands technically, groove, and ability to write a memorable chorus. I can imagine them playing it live and everyone is singing along to the “I gave everything I had” lyric. Plus, it has one of the best guitar solos on the album.
Now if the first song showed glimpses of heavy with its start stop riff during the verses, the next two songs continue that and take it even further. “Shuttered World” might be one of the heaviest songs the band has ever done, in a groove that reminds me of the band Nevermore. This is counter-balanced with another melodic chorus that makes it an album standout. These first two songs will be fan favorites.
“Alone We Walk” closes out the opening heavy trio with a classic Fates Warning sound superimposed over a down tuned guitar riff. Less memorable than the first two, but still with its share of great lyrics and harmonies. This trio of songs starts the album off so strongly that you’d swear this was their best album so far!
But the problem is, there’s still a long way to go! So the band knows they have to change it up a bit. The next trio of songs is more focused on the softer ballad like moments. “Now Comes the Rain” sees the band doing their best Queensryche impression. No, it’s not a blatant rip-off, but it is a nostalgic late 80s early 90s sound that reminds me of classics like “Another Rainy Night” and “I Don’t Believe in Love”. A welcome change of pace to the album.
“The Way Home” starts off like a beautiful ballad, and makes you think you’re getting another song like “Pleasant Shade of Gray Part IX”, but then switches up to a more progressive second half, much like they did with “The Eleventh Hour” from Parallels. Unfortunately, the second half isn’t as memorable as its first and might have worked better as two separate songs. But maybe it needs a few more spins.
*Edit* it has grown on me with more spins!
The heavy section is important though cause it breaks up the previous ballads with another beautiful ballad, this time complete with actual string instruments. “Under the Sun” reminds me of 80s ballads that you would hear from pop bands or alternative rock bands, not necessarily just from metal bands. It is very emotional and can become quite the ear worm for the listener.
The next section of the album seems to be where it starts to lose some listeners. With the trio of heavy and trio of ballads, we get four classic heavy metal songs in a row, split up by one electronic influenced song. With the bands technicality and emotion leading the way, it seems kind of a step back to just do catchy heavy metal songs. But, as the band stated, there’s something for everyone on here. So let’s get through them.
“Scars” was the first single so many of us Fates fans had already heard it. It still holds up with its placement in the album. It is the classic Fates sound we’ve come to expect from their last couple of albums and holds well against tunes like “Pieces of Me”, “Simple Human”, and “White Flag”.
“Begin Again” starts off with a bluesy sounding riff. It’s got a decent pre-chorus and chorus, with hints of Tool and Porcupine Tree, but not the same melodic memorability as previous songs. The most unique section is the off time counter melodies right before the guitar solo, which I’m still not really a fan of.
“When Snow Falls” breaks up to sequence of heavy songs with one of the albums highlight performances. Sounding like an OSI song with Ray Alder on vocals, Gavin Harrison’s drumming fits in perfectly. The tones are brilliant as are the uses of effects such as delay. I always love when Fates steps into this territory and wish we got to see it more (either that or we just need another OSI album soon. Jim and Kevin I’m talking to you!).
But the album goes back to its comfort zone with the song “Liar”. In most of the reviews I’ve seen, people point out its length as its biggest weakness. They say that this track or “Begin Again” (or both) could have been cut and it would have been a more enjoyable experience. I agree, but it also depends on how you listen to it. In one sitting, yes it’s too much. But individually every song is good. So if you need a long album in the car or these songs are on shuffle in a playlist, you don’t mind them as much as you do all at once.
Either way, “Liar” has its moments and “Glass House” is a shorter more straightforward song with probably the catchiest chorus since “Scars” so it’s just enough before we get to the meat and potatoes of the album. “The Longest Shadow of the Day” (also the longest song of the record) is 11:30 seconds.
The majority of it comes from its extended intro where we get jazz style guitar licks, excellent bass solos, and shred guitar solos, while Bobby on drums and Joey and bass do what they do best and hold it all together. Once you get to the vocals, it is actually a pretty simple and straightforward song, with just a few verse and repeated lines. Still, one of the bands best moments in a long time.
The album finishes with the classical inspired ballad, aptly titled, “The Last Song”. This lulls the listener out after the technical mastery and showmanship of the previous tune, and leaves fans of the band hoping that they don’t mean the last one forever.
All in all, this album has me scratching my head where I would place it in my favorites by the band. There is a ton of great material on it. And the only thing it has going against it is it’s length. There’s not a bad song on it, but there are better songs on it than others. And because if that, the band does have better “put-together” albums. Still, it’s not gonna leave any fans upset at its existence. There’s more than enough material to hold people over, plenty of songs are gonna be great live, and everyone will have their own unique favorite song from the album.
It will hold well for many years to come. It doesn’t over take the spot of my favorite by the band (“Darkness in a Different Light”), but halfway through, I really thought it would. Definitely a contender for album of the year, and a must check out for any fan of metal and Prog, whether old or new.
By 1976, Genesis was already a leading figure in the Progressive Rock scene, thanks to 6 albums, 5 of which are Prog Essentials. After their commercial flop of a debut album, they began their streak with Trespass in 1970. These albums showcased that the band was able to put whatever they could possibly fathom onto a record. They created a number of Prog classic songs, and they were also able to establish themselves as a wildly entertaining and unexpected live act.
This was part of the somewhat flamboyant and over-the-top persona of Peter Gabriel, which like Ian Anderson of Jethro Tull was prog’s answer to the emerging Glam Rock genre, which gave way for the likes of David Bowie. And it very much worked for Genesis, as the quirky singer matched their musical technicality and proficiency.
This was most obviously achieved in the form of their 1974 double album, and a Prog opera reminiscent of Tommy by The Who, The Lamb Lies Down on Broadway. I won’t go too into this one because I’ll probably be tackling it soon, but it was the perfect example of the band’s cinematic and play-like stage performance coming to fruition through their music. Unfortunately it was not a big hit at the time, despite later achieving cult classic status, and may have played a very small role in the departure of Peter Gabriel, amongst other things.
So, with the band trying to follow up this album, they now had to prove that they could still write a hit even after the lineup change. They quickly got to writing new material and listened to many audition tapes for replacement singers. But it was the band convincing Phil Collins to sing the song “Squonk” that brought about his transfer from drummer to singer.
Now luckily, the music was still in the band’s style as some of the pre-Lamb albums, so the band found that the music came together quickly. Phil did his best Peter impression vocally while still finding and discovering his voice. But he was also inspired by Peter’s lyrical approach. The albums blends some songs of a tongue-in-cheek nature, with some that are fantastic and whimsical, and even some that are more serious and poetic.
This demonstrated all the facets of the band, and the music naturally followed suit. What this album does is kind of act as a showcase, not only acting as the transitional album between Peter and Phil, but also of Genesis past, present, and future. It has the progressive songs of the past but also greatly foreshadowed the pop sound of Genesis to come. Even though there was still one more Prog album left out of these guys before the drastic tonal change of …And Then There Were Three…. in 1978, it still has some of the bands poppiest, catchiest, and most melodic moments thus far into their career.
The album begins with an absolute classic. One of the best first songs on an album in my opinion. Listening to this, you instantly knew the band was going to be just fine. “Dance on a Volcano” has a memorable two part intro. Part playful, part orchestral, it has a unique transition to its frantic but controlled verse with gives way to its memorable “chorus” and “bridge” section. The song continues with some technical wizardry in the second half before transitioning smoothly into the second song.
“Entangled” is a beautiful ballad that provides some down time after the upbeat opening piece. It is 12 string driven acoustic song with a memorable verse and a beautiful chorus that is straightforward for its first 4 minutes. The last two and a half minutes are led by the synth, bass pedals, and the Mellotron. It’s hypnotic, and it’s simplicity is what makes it effective.
“Squonk” is a song about a mythical creature, but musically has been called one of the band’s heaviest songs. It is a deceptively simple song due to its subtle changes and its jam session ending, but it goes back and forth between two very catchy melodies, that can be seen as verse and chorus sections despite a lack of repeated lyrics. Phil has stated that his drums were inspired by John Bonham, and they definitely stand out on this track.
“Mad Man Moon” would be the other most progressive tune on this album aside from “Dance on a Volcano” in my opinion. Starting out as a simple and beautiful ballad with a bright uplifting sounding chorus, it takes a left turn with its middle section in the form of an extended keyboard part before Phil Collins comes in with his fast paced vocal delivery. The song returns to its verse and chorus and ends very strongly.
Side 2 is more straightforward than side 1, and therefore might have some of the most memorable songs for the casual listener. It starts with “Robbery, Assault, and Battery” which sometimes feels like the odd song out in my opinion. It’s a fun one on its own, does a great job of telling a story, and it’s got its moments of catchiness as well as its progressive middle section where the band goes all out, but to me it doesn’t match up with the more serious and delicate songs.
“Ripples” for example, might be one the most beautiful things Genesis ever did. This 8 minute masterpiece doesn’t stray far from itself. The middle section fits well with its verses and choruses, and despite being the longest song, is one of the more straightforward tunes on the album. A gorgeous and lush sounding ballad that hints at later Genesis, as well as Phil’s solo career.
This is followed by the equally catchy but more upbeat title track, which also hints at these things to come. A very Beatles-esque, playful tune, that returns to lyrics of beasts as “Squonk” did. But it’s hook might even have you forget all about this as you patiently await to sing along with “they’ve got no horns and they’ve got no tail” part. This two songs really balance the album well, giving something for everyone.
Having accomplished an album with some pop sensibility, some beauty, and lots of technical musicianship, all that’s left is to go out with a bang, and that’s exactly what “Los Endos” is. An instrumental grand finale with parts of “Squonk”, “Dancing on a Volcano”, and a song that didn’t make it onto the album but was released as a b-side. They even through a nod to Peter Gabriel at the end. A fitting tribute to the past, and a fitting closure to an album that was looking onwards and upwards. It provides a rest in the sense that it doesn’t throw too much new information at you, after having to digest so much already, but properly closes out the album after the simplicity of the title track.
So, my overall thoughts on the album?
Revisiting it on vinyl a few times has made me appreciate songs that didn’t use to stand out to me. I always loved “Dancing on a Volcano”, “A Trick of the Tail”, “Entangled”, and “Ripples”. I now have more appreciation for “Squonk”, “Mad Man Moon”, “Los Endos”, and even for “Robbery, Assult, and Battery” despite what I said about it above.
There is a lot happening on this album. They cover a lot of ground and everyone gets their moment to shine. For a band who’s future was uncertain, they passed the test with flying colors. Many fans still view this as their favorite album and rightly so. The production was much better than previous albums and you get the best of both worlds with Phil paying tribute to Peter while showing his own strengths. The band is at the top of their game and their songwriting really shows it, with its balance of melody, harmony, and showmanship.
Off the top of my head, this is always my go to as favorite albums by them, but we’ll see if some in depth revisits of their older albums change that. As a whole, my only gripe is that I usually start to fatigue around the midway point, but the last three songs pick up so strongly that it quickly hides any of that away. Otherwise, this is probably the closest Genesis got to a perfect album…
View of the Sunrise 