Category: Progressive Rock

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Tim Bowness – Butterfly Mind – Album Review

Artist: Tim Bowness

Album Title: Butterfly Mind

Label: InsideOut Music

Date of Release: 17 June 2022

Cards on the table, I know nothing of the band No-Man and up until I was presented with the opportunity to listen to this record in advance of its release, I’d never clapped ears on any of Tim Bowness’ previous solo material either. You could say then that I’m a true novice, something that will either work in my favour or against me. What you can guarantee though, is that I come to this review with literally no expectations or prior knowledge, as well as a viewpoint that’s unencumbered by any outside influences. Not for the first time, I’m a blank slate.

It’s probably an unnecessary exercise for many but for those who, like me, are less familiar with the work of Tim Bowness, it is worth mentioning that he is joined by a stellar cast of musicians on ‘Butterfly Mind’. Joining the vocalist and multi-instrumentalist throughout this record are Nick Beggs (bass, chapman stick), Brian Hulse (guitars, keyboards, programming), and drummer Richard Jupp. And then there is a whole host of guests that add their talents to a song or two. The list runs into double figures but most eye catching for me are Big Big Train’s Greg Spawton (bass pedals) and Jethro Tull’s Ian Anderson (flute).

My desire to listen to anything and everything this year in particular has paid off numerous times so far, but it can’t always be a successful approach – the law of averages alone will dictate that some of my exploration will result in a dead end, or with an artist failing to ignite the fires within me. Sadly, this is one of them. So why continue with my review? Because I have spent a lot of time listening to ‘Butterfly Mind’ and so I feel I can put together a cogent set of reasons why I don’t personally get hit square in the feels by Tim Bowness’ latest creation, rather than simply dismissing it. It may be that my reasons for failing to connect are the exact reasons why someone else will love it or give it a listen when maybe they otherwise wouldn’t.

After all, an album can be very good and still not be someone’s cup of tea. And ‘Butterfly Mind’ is absolutely a very good album that is full of great material. I’m not deaf to this, and I’d certainly not decry otherwise. But at the end of the day, after careful listening and consideration it’s just not for me. But why?

My normal musical preference is at the heavier end of the spectrum, of that there is no secret. However, I enjoy my fair share of music that’s quieter, more relaxed, or of a different genre entirely. The fact that I adore bands like Big Big Train, Toto, Fleetwood Mac, White Moth Black Butterfly, and any number of gentler prog rock acts go some way to demonstrate this. Therefore, there’s every chance that I’d like this offering from Tim Bowness.

The key factor in my enjoyment of this music is the melodic sensibilities contained within. And that’s the first issue I have personally with ‘Butterfly Mind’. It is a very melodic, warm, and inviting album that sounds a million dollars in terms of the production that envelops the listener like a faithful favourite blanket. But the melodies that feature within the album rarely get me excited or send a tingle down my spine. I nod appreciatively occasionally, but that’s about it.

As a result, I don’t have that emotional connection with the music that others will have. If the melodies don’t resonate strongly with me, I find the listening experience to be a perfunctory one, rather than a truly emotional one. That’s what I find here. It’s a sorrowful sounding album, but without the hooks and melodies to really tug at my heartstrings.

Songs like ‘It’s Easier To Love’ will be massive hits for many, but for me, this track is one that’s a bridge too far. The abundant saxophone is always going to be a problem for me given my prejudices towards the instrument, but regardless, the song is too whimsical, smooth, and bland for my tastes. If it had a killer hook within it, I might think differently, but it doesn’t, and I’m not too displeased when it ends.

The pulsing bass lines within follow up ‘We Feel’ as well as the increased energy injected by some nice guitar tones, embellishments, and sparingly used riffs rouses me a little from my near comatose state. It is one of the more immediate songs on the album, alongside ‘Always The Stranger’, which is a lively and vibrant affair albeit too short and sweet. It features some nice melodic touches that I latch on to, whilst I like the breathy, almost whispered vocals at points.

The vocals of Bowness himself are both a help and a hindrance to my enjoyment. At times, his delivery feels really unique and interesting, whilst at others, I’m less keen on his voice. It’s odd because I’ve rarely had this experience – I either like or dislike a voice outright.

‘Lost Player’ could be an even better track than it is, but it just fails to do anything particularly special or irresistible despite threatening to do so before fizzling out to nothing rather disappointingly. Then there’s ‘Only A Fool’ which is just plain odd, which could be a positive attribute were it not for some of the electronic sounds which I find a little overbearing and jarring. It’s a similar appraisal for ‘Glitter Fades’ which features an electronic beat to accompany the organic drums. It’s here that I find Bowness’ vocals most hard to enjoy, but I fully appreciate that this is me rather than his delivery which will no doubt hit the mark for his loyal fans and fans of this kind of music in particular. And it is a nice song, especially with the onset of some gentle orchestration in the latter stages; it’s just not a composition that I can warm to, as hard as I try.

I really do hope that I have been fair and transparent with this review, and I have given an insight into why I am not as enamoured as many others will be by this record. As I have said many times, almost ad nauseum, ‘Butterfly Mind’ is not a bad album, far from it. Indeed, I wish I liked it more than I do. But I don’t, and that’s a genuine shame because I came to this with genuine interest and an open mind ready to be impressed, to announce to me in glorious technicolour what I’ve been missing over the years. Ultimately, it wasn’t to be, but don’t be put off by my thoughts on this – if you think that this might be something you’ll enjoy, check it out. And if you do, I honestly hope you will have a more positive experience than I’ve had.

The Score of Much Metal: 70%

Check out my other 2022 reviews here:

Denouncement Pyre – Forever Burning

Truent – Through The Vale Of Earthly Torment

Wind Rose – Warfront

Kardashev – Liminal Rite

Artificial Brain -Artificial Brain

Seventh Wonder – The Testament

All Things Fallen – Shadow Way

Def Leppard – Diamond Star Halos

Lord Belial – Rapture

Buried Realm – Buried Realm

Stiriah – …Of Light

Remains Of Destruction – New Dawn

Crematory – Inglorious Darkness

IATT – Magnum Opus

Iris Divine – Mercurial

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

All Things Fallen – Shadow Way – Album Review

Artist: All Things Fallen

Album Title: Shadow Way

Label: Blackoak Records

Date of Release: 3 June 2022

When I received the email alerting me to this album, the content of the press release had me salivating like a starving lion in the Serengeti. Featuring a fantastic line-up comprised of multi-instrumentalist Markus Sigfridsson (Darkwater, Harmony), drummer Leo Margarit (Pain Of Salvation), vocalist Erik Tordsson (End Of September), and bassist Raphael Dafras (Edu Falaschi, Almah), the email then went on to tell me that this was an album for fans of Evergrey, Soen, Pain Of Salvation, and Darkwater.

Imagine my levels of excitement at the very prospect of this all being true. Now imagine the levels of disappointment on discovering that ‘Shadow Way’ does not live up to the grandstand billing that it has received. I should have known, because press releases are more often than not full of nonsense, aimed at deliberately pulling us in to get us to review the latest release on the record label’s roster. But even so, I have to say that this record has been one of the biggest disappointments of the year so far.

I must be careful to be transparent at this point though. My disappointment is not because the music is of a poor quality, or because the performances or the production let it down. That’s not the case at all. My disappointment comes from the fact that I had such lofty expectations given the clientele involved, and because of the promise that this would appeal to fans of the aforementioned bands. As you’re all fully aware, I adore Evergrey, but on ‘Shadow Way’, I hear almost nothing that would warrant the reference. And the same goes for Pain Of Salvation and Darkwater; just because the band features members of these bands, it doesn’t necessarily follow that the output will sound similar. The closest reference point would be Soen I would suggest, although this is pushing things a little.

To my ears, vocalist Erik Tordsson gives the music more of a power metal sheen, as his delivery is generally within a higher register and he can wail with impressive power when the music demands it. All Things Fallen are definitely progressive, but the chosen synth sounds lend it much more of a classic, almost 70s vibe at times. Each of the musicians brings their undoubted skills to the party too, with the drumming of Leo Margarit and bassist Raphael Dafras together making the biggest impact upon me. If I’m honest, Tordsson is an acquired taste that I do warm to, whilst I feel more than a little disappointed by the chosen guitar tones and delivery. His solos are out of the top drawer and I am in no way criticising his technical ability, but I just wish that the riffs of Markus Sigfridsson were given more crunch, more power, and more menace. I also wish they were sometimes more front and centre, as they can get lost within the mix at times. On songs like ‘Desert Of The Real’, they make much more of an impact and if you were to listen to this track in isolation, you’d think my previous comments to be misguided or way off the mark. But it’s not always the case throughout ‘Shadow Way’ unfortunately.

The biggest failing of the music, however, is a real lack of a ‘wow’ factor. For all of the top-quality musicianship, I can’t help but feel that the songs themselves fail to stack up. Whether it’s the chosen melodies, or a number of other small things, such as the unnecessary bloated lengths of some of the tracks, I don’t warm to as much of the material as I want to, or think that I should. It’s frustrating and maddening in equal measure. I find myself listening again, certain that I must have missed something because ‘surely a line-up this talented won’t create something that I find disappointing?’ Unfortunately, I am still to have that epiphany – that’s the reason why this review comes after the release, as I wanted to give it as long as possible before writing anything about it. But the time has come.

One of the more engaging songs is first up in the form of ‘The Sentinel’. The bass immediately catches my ear, rumbling with real authority. I like the stomping groove that is carried throughout the song too, as well as a cracking lead guitar solo, and the key change that crops up in the second half of the song. But as with my comments above, I want the guitar riffs to be more prominent than they are, and I also find that the bold keys detract just a little from my overall enjoyment.

By far and away, the best two songs on ‘Shadow Way’ are ‘Pandemonium’ and ‘Desert Of The Real’ and if more of the material was on a par with these tracks, then we’d be staring at a very different review right now. In the case of the former, it features some gorgeous violins courtesy of guest Maria Grigoryeva, but it is easily the strongest in terms of melody and memorable songwriting. The chorus is hook-filled, the swagger is infectious, and the guitars seem more integral to this song than others – when I listen to this track, I really smile, but I also silently bemoan a case of what could have been. I also like the funky guitar-led section somewhere at the heart of the song which injects a little variety into proceedings.

‘Desert Of The Real’ is the enigma is that it features prominent keys that I don’t always like elsewhere, and is the longest at over eight minutes. Nevertheless, the vague Middle Eastern flavour is a nice touch, whilst the song also features some stunning, yet subtle melodies that grow with every passing listen, to the point where I actually want to listen to the song on multiple occasions, sometimes even back-to-back.

I could try to dissect more of this album but, to be honest, I know when I’m beaten. I am absolutely certain that many of you will find much more enjoyment than I do with ‘Shadow Way’ because as I’ve said before, the music is far from being poor. If you’re one of those then I am genuinely pleased for you. For me though, aside from a couple of really good tracks, I will probably be shelving the record and not adding All Things Fallen to my ever-expanding CD collection I’m afraid.

The Score of Much Metal: 72%

Check out my other 2022 reviews here:

Def Leppard – Diamond Star Halos

Lord Belial – Rapture

Buried Realm – Buried Realm

Stiriah – …Of Light

Remains Of Destruction – New Dawn

Crematory – Inglorious Darkness

IATT – Magnum Opus

Iris Divine – Mercurial

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Iris Divine – Mercurial – Album Review

Artist: Iris Divine

Album Title: Mercurial

Label: Layered Reality Productions

Date of Release: 20 May 2022

I’m a little late to the party with this record, but I have my reasons. The album in question is ‘Mercurial’, the third full-length album from Virginia-based US progressive metal band and one of the main reasons I’m lagging behind is because the trio never make it easy for me. I’m in no way suggesting that they should make their music easy for reviewers, but every one of Iris Divine’s records that I have reviewed have been tricky to write. Yet again with ‘Mercurial’, I have had to take some serious time to get my thoughts in order and decide what I really think about this record. But I believe I’m finally there, and happy to commit my opinion to writing.

Comprised of the core trio of Navid Rashid (vocals, guitar, programming), Brian Dobbs (bass), and nw drummer Scott Manley, Iris Divine have chosen to explore the subject of human emotions on ‘Mercurial’, delving into quite deep ideas such as how our emotions may limit our perceptions, or change our individual or collective outlook on life. It’s definitely an album to get you thinking, so if you relish lyrics and subject matter that go beyond the basic, then ‘Mercurial’ immediately puts a tick in the box.

What’s so great about this album, is the way I which the music echoes the intelligence of the subject matter. I can now say this with some confidence having been a little on the fence early on in this listening journey. In my defence, I’ve never been the biggest fan of alternative rock and grunge, so when these genres present a significant element to Iris Divine’s music, it takes a bit of getting used to, and I needed some time to warm to it all. But then, with compositions that are equally as influenced by the likes of Rush and Kings X, alongside a flavour all of their own, it was probably only a matter of time before the prog lover in me started to feel the pull of the music and erase any doubts I had at the outset.

In fact, as I sit here now typing this review, I’m not entirely sure how I didn’t enjoy it as much to begin with. There is so much going on within the music that it feels like it should be longer than 39 minutes; the three musicians certainly like to cover a lot of ground within their compositions as the eight tracks here ably demonstrate.

Perhaps the initial reticence was caused by the first song here, ‘Bitter Bride’, because of them all, it is arguably one of the spikiest and confrontational songs I’ve heard from Iris Divine. Kicking off with a jangly sounding riff, powerful rhythms and soundbites of spoken word, it’s something of an intense opening, verging on a cacophonous wall of competing sounds. When it settles into its true rhythm, it becomes much more of a driving, up-tempo piece that introduces a grower of a melody or two in combination with Rashid’s first vocal lines. That said, the clashing sounds return alongside some caustic vocals at points to keep the listener on their toes, and under no illusion that the trio are angry and in confrontational mood. With time though, the energy of the song, as well as the great musicianship overtake all else to ultimately win me over. It will never be my favourite track on ‘Mercurial’, but it’s a grower that I now enjoy.

It doesn’t help either when the opening moments of follow-up track, ‘Silver Tongued Lie’ feature brass embellishments in the form of what I believe are trumpets, giving the song an immediate ska edge. Urgh. However, all is forgiven when I’m hit first with some muscular riffs, and then with some irresistible hooks and melodies within the song’s stunning chorus. I cannot get enough of it, it’s that good, and it acted as the catalyst to force the necessary repeat plays to get to this point. I owe it a debt of gratitude for sure.

The full force of Iris Divine’s progressive tendencies emerge in spades within ‘Thirteen’, a longer track that uses its time wisely to explore a number of different soundscapes within what feels like a darker, more brooding cloak overall. The funky bass playing, incisive but meaty riffs, and dextrous drumming within the extended mid-song instrumental passages all underline the technical credentials of the musicians, whilst the inclusion of numerous shifts in tempo, and bold keys add depth, drama, and intrigue to the song. It’s another composition that has grown on me to the point that I now really like it, and look forward to when it arrives in the running order.

Two songs that were much more instantaneous appear in the form of ‘Sapphire’ and ‘Death By Consensus’ respectively. The former skips along with a really upbeat swagger that’s infectious, as are the melodies that weave in and out of the track. The vocal effects are interesting too, as are the subtle ethnic melodies in the latter stages, both of which add further ingredients to the mix.

‘Death By Consensus’ is an instrumental track, but it’s full of energy from the very first note, seemingly unwilling to pause for breath. Happily though, this is an instrumental that grabs the attention of the listener pretty swiftly thanks to the electric performances from all three members. There are plenty of complex ideas swirling around, but at it’s heart is a slightly more simplistic melodic hard rock vibe that veers into AOR territory thanks to some delicious, warm melodies that put a smile on my face every time I listen. Of course, there are moments of gratuitous soloing by bass, drums, and guitar alike, as well as the odd foray into discordant jazz territory, but it’s never overdone, and it doesn’t get in the way of the song’s overall vibe.

The alternative rock/metal influences come to the fore with gusto within ‘Negative Seed’, albeit tempered by overt proggy vibes that are liberally sewn throughout the song. However, the angry spoken lyrics and attitude of the track nearly put me off until the bruising, groovy melodies thundered through the speakers in the second half of the song, pulling me round to their way of thinking yet again.

And that’s the story with the entirety of ‘Mercurial’ too, because, despite some early misgivings about the strength of the alternative and grungy elements, I have been won over. And not just a little bit – I’ve been won over comprehensively. There’s clearly a hugely positive chemistry within the band that shines through a lot of the material and, when coupled with the intelligent song writing, there is an awful lot to enjoy on this record. If you were a fan before, you’ll not be disappointed. And if you weren’t a fan previously, but you like high quality progressive music that’s just a little bit different, I urge you to put this high up on your list to check out. I’m not a betting man, but if I was, I’d be laying down good money that Iris Divine will be gathering a glut of new fans with ‘Mercurial’, and rightly so.

The Score of Much Metal: 90%

Check out my other 2022 reviews here:

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Spheric Universe Experience – Back Home – Album Review

Artist: Spheric Universe Experience

Album Title: Back Home

Label: Uprising! Records

Date of Release: 20 May 2022

The origins of Spheric Universe Experiment date back to before the Millennium, but the ensuing quarter of a decade have not been plain sailing for the French progressive metal outfit. Line-up changes and break-ups have featured amongst other things, meaning that we had to wait until 2005 for a debut album (‘Mental Torments’) Another three records were released subsequently, the last being ‘The New Eve’ in 2012. After a period of touring, a live album, (‘Live In London 2016’), and extensive songwriting, the quintet have finally returned with a new studio album, entitled ‘Back Home’.

Founder and guitarist Vince Benaim remains in place to lead Spheric Universe Experience into a new chapter of their career. He is joined in 2022 by keyboardist Fred Colombo, bassist John Drai, vocalist Frank Garcia, and drummer Romain Goulon, all of whom are integral members of the Cote d’Azur-based band and feature strongly on this new record.

The title of the album, with its beautiful and striking artwork, has a double meaning. Firstly, and most simply, ‘Back Home’ represents the fact that Spheric Universe Experience have returned with a new album and are in their natural, happy place. But additionally, it also references the album’s central story because in good old fashioned progressive metal style, ‘Back Home’ is a concept album, with a bold and strong sci-fi/space flavour to it. The central characters are, amongst other things, returning to Earth, hence ‘Back Home’.

In the past, if I had a quibble about the music of Spheric Universe Experience, it would have been that I found the music to lack a little in the melody stakes as well as the overall sound of the band. What I mean by this is that the melodies didn’t always stick with me as I would have hoped, sometimes being a little convoluted or fussy. Additionally, I felt that the compositions came across as a little weak sounding, lacking enough grunt or muscle, particularly where the guitars and bass were concerned. As such, despite showing flashes of brilliance, their previous albums narrowly missed out on being essential listening for me. Others will naturally disagree with this, but that’s my opinion. Or it was, because ‘Back Home’ addresses all of these things and in so doing, delivers a truly compelling listening experience that, for me, announces them as one of the genre’s brightest prospects.

Funnily enough, a week or two before I got my hands on this promo, I was thinking that 2022 had so far been a fairly mediocre year for what I would loosely describe as ‘classic’ progressive metal, the kind of music that was spearheaded by the likes of Dream Theater, where strong melodies combine with technicality and impressive virtuosic instrumentation. The kind of progressive metal for which I have a definite soft spot despite not always being the biggest fan of Dream Theater themselves ironically. However, Spheric Universe Experience have come along at just the right time to redress the balance and scratch this particular itch of mine.

What I like about ‘Back Home’ as well as the improved production, is the way in which the Frenchmen manage to blend progressive metal with flashes of power metal speed, and a sense of bombast and flamboyance to enhance the effect of the concept story; in some ways, it has the feeling of a heavy rock opera almost, such is the ambition on display here.

I will be completely consistent with my criticism though and state that ‘Back Home’ is, at 77 minutes, too long. After a decade without new material, it’s not surprising that the band wanted to return with a bang, but the net result is that it’s a tad bloated, and in need of editing in places. To begin with, six of the compositions stretch beyond six-and-a-half minutes, and there are no less than four instrumental pieces within the thirteen tracks that feature on ‘Back Home’. They are not without merit, particularly the opening piece, ‘On Board SUE5-2469’ and ‘Synchronicity’ which is wonderfully cinematic and clever in the way that it reprises melodies heard in the former.

Despite this, when Spheric Universe Experience get it right, they really impress me. Take the double header of ‘Final Fate’ and ‘Where We Belong’ as perfect examples of everything that make Spheric Universe Experience such an exciting band. ‘Final Fate’ opens in true progressive style, all energy, odd time signatures, virtuosity, and power. Immediately, the importance of the synths is clear, lacing the whole thing in atmosphere as well as moments of solo virtuosity, but never entirely overdone. There’s a nice groove to the verses, whilst Frank Garcia impresses as he lets rip over a very melodic chorus; it may simply be the passage of time playing tricks on me, but I never remember the vocals of Spheric being this good before. ‘Where We Belong’ delivers one of the album’s killer choruses but is overall a much more theatrical piece, whilst still producing the chops, riffs, and complexity that will have prog fans grinning from ear to ear. I’m not overly sold on the way the song veers into West End Musical territory in the final couple of minutes, but you can’t fault the ambition for a second. And that chorus will be in your head for weeks, trust me.

One of the most interesting songs on ‘Back Home’ is the multi-faceted ‘Transcending Real Life’. The melodies are deceptively catchy, almost insidiously so actually. But it is the way the musicians are able to incorporate so many ideas into the track that makes it to compelling; funky slap bass, chunky and muscular riffs, gentle 80s-esque keyboard-led sections, and a strong Middle Eastern flavour with the introduction of Arabic-like melodies and vocals in the later stages – they all combine to great effect to fully engross me time and again.

I’m also a sucker for the ballad-like chorus and melodies within ‘Legacy’ which, at times, is also one of the heavier tracks, with some powerful riffs. This juxtaposition is a nice touch and demonstrates the skill of the band in being able to blend different styles together without seemingly a second thought. ‘Defenders Of Light’ is also very worthy of a mention as it kicks off as if it has been set alight, before dropping a fantastically fast and energetic chorus that’s strongly influenced by the power metal genre.

On balance, despite the misgivings about its length, I have to conclude that ‘Back Home’ is a hugely gratifying experience, not least because it signals a long-awaited return from a very talented band. They have left nothing at the door and have thrown the kitchen sink at this record in an attempt to create their strongest material yet. And, when the dust has settled, it is hard to argue to the contrary. With plenty of high-quality performances throughout the band, tons of variety, and a palpable sense of passion at every turn, ‘Back Home’ has to be the best release yet from Spheric Universe Experiment.

The Score of Much Metal: 90%

Check out my other 2022 reviews here:

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Evergrey – A Heartless Portrait (The Orphean Testament)

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

OU – One – Album Review

Artist: OU

Album Title: One

Label: InsideOut Music

Date of Release: 6 May 2022

There’s a reason I’m slightly late with this review, and that’s because I have had the hardest time deciding what I think about it. ‘It’ is the international debut full-length release from the Chinese progressive rock/metal band called OU. Entitled ‘One’, the album is the creation of four musicians from Beijing, brought together by drummer Anthony Vanacore. He is joined in OU by vocalist Lynn Wu, guitarist Zhang Jing, and bassist Chris Cui who, together, are possibly the very first Chinese-based band to be signed to a record label in the West. That in itself is worthy of some kudos, surely?

But that’s the easy bit, because now, I have to turn my attention to the music that features on ‘One’, and I’m not entirely sure where to begin if I’m honest. On paper, citing influences that range from Devin Townsend to Radiohead to The Gathering, it would seem like a relatively straightforward task, given that I am familiar with each of these named artists. However, press play, and there’s a strong argument to suggest that we’ve been lulled into a false sense of security.

On the one hand, each of these references bears fruit. But this tells only a fraction of the story, because OU sound like no-one else that I’ve ever heard. You can easily add names like Haken, Frank Zappa, and Dream Theater to the list as well as genre descriptors like psychedelic, djent, math rock, and alternative. There’s even a big synth element to much of the music that brings an air of anime to the party. In fact, whilst OU are labelled as a ‘prog’ band, there’s a fairly decent case to be made to refer to the quartet as avant-garde, or jazz metal, simply because I get the sense that anything goes here, and it leads to an intense and original final product.

I think, having grappled with the music a lot over the last little while, that one of the most important elements is the voice and vocal delivery of Lynn Wu. As technical as the music is around her, Wu’s style is such that it feels a bit like a stream of consciousness at times; she goes wherever she wants, whether or not it entirely goes with the music within the confines of the songs. Within some of the tracks, barely a second goes by without her voice being present, even if, on occasion, Wu isn’t even singing any lyrics at all. This is not a criticism at all though, because Wu has a beautifully smooth, ethereal voice that also has a childlike quality to it at times. She can shout and scream with the best of them when the mood takes her too, but generally, her approach is much more reserved, quiet, and mellifluous.

Opening track, ‘Travel 穿’ is big on the odd synth sounds that call to mind the anime and psychedelic stylings, but it’s also a bold and strong song elsewhere. The musicianship of the quartet is incredibly high, with plenty of complexity delivered without seemingly breaking a sweat. The composition is tight and precise, one of the heaviest on ‘One’ with some djent leanings to the guitar sounds, drawing those vague Devin Townsend comparisions. As the song draws to a close, it opens out a little too, offering one of the closest approximations of genuine catchy melody. Admittedly there’s a charm about the song that gets under the skin the more you listen, but it’s the final stages, preceded by some breakneck drumming that is my personal highlight here.

The vocals that accompany what would otherwise be a standard modern prog intro to ‘Farewell 夔’ are, frankly, bizarre, and at odds with the music, leading me to bring up the ‘avant-garde’ tag; there’s nothing straightforward about OU, as this song ably demonstrates. ‘Mountain 山’ is arguably my favourite track on the album, as the prog is strong here, with the occasional Haken-ism, as well as a stand-out performance from bassist Chris Cui who, just like Lynn Wu, never stops, forever embellishing the song with barely a breath taken throughout.

From there, things take a bit of an unexpected turn, with the progressive rock/metal trappings taking more of a back seat as the album continues. ‘Ghost 灵’ is a three-and-a-half-minute quiet, largely instrumental affair, dominated by sombre synths, accented by acoustic guitars and bass notes. Wu does appear later on, with a truly ethereal performance, but it is definitely the bold synths that make the biggest impression. I’m not entirely sure that I like it still.

The quieter delivery continues with the seven-minute ‘Euphoria 兴’, although the opening couple of minutes are quite vibrant and fast-paced with acoustic guitars, bass, Wu’s gentle, smooth vocals, and stunning drumming from Anthony Vanacore. However, the longer the song goes on, the more the synths come to dominate, and the more the track starts to slowly unravel, become more and more ominous in tone, as well as more and more minimalist, eventually becoming a full-on ambient affair before fading to nothing.

The juxtaposition between ‘Euphoria 兴’ and ‘Prejudice 豸’ is stark and powerful, as Wu offers some of her most angst-ridden vocals to accompany a blast of all-out heavy prog. However, despite the heaviness, intensity, and the amazing performances of all concerned, the song fails to fully grab me. It’s a decent song, with a lovely clean guitar sequence at the three-quarter mark, but despite this and some killer bass towards the end, the song as a whole is not one that I want to listen to over and over again.

And the same is broadly true of the final two songs, ‘Dark 暗’ and ‘Light 光’. Again, the musicianship is out of the top drawer, but the music fails to fully ignite my enthusiasm. IT may only be a little over 41 minutes in length, but the sheer intensity and complexity of the music begins to wear me down towards the end I think. I’m dying for Lynn Wu to sing what I consider to be a ‘normal’ vocal line just once, but it never materialises which, for me, is a slight disappointment. I guess though, this isn’t the OU way, and neither should it be if they don’t want it to be.

And there we are – after intently listening to ‘One’ for a number of days, I am no closer to being able to say whether or not I like the music on the album. There are a handful of tracks that have begun to work their charms on me, primarily the opening trio, and I have no doubt that with more time, I might get closer to a decision. But I fear that’ll be six months or a year down the line, if I stick with it for that long, truth be told. Do not let my comments distract from the truth about the music though, because on that score, there is nothing but admiration from me. The complexity, the originality, and the sheer focus that is involved to bring this record to fruition is staggering. If you have a more open mind than I have, or you are a musician yourself, I suspect you will lap this album up and consider it to be one of the best things you’ve ever heard. I’m still on the fence though…I can’t decide whether I like it or not and that’s maddening.

The Score of Much Metal: 80%

Check out my other 2022 reviews here:

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Pure Reason Revolution – Above Cirrus – Album Review

Artist: Pure Reason Revolution

Album Title: Above Cirrus

Label: InsideOut Music

Date of Release: 6 May 2022

The last album by Pure Reason Revolution was the first that I encountered, having missed out on their early career. And, despite not necessarily being the archetypal kind of music that I’d normally gravitate towards, it is fair to say that ‘Eupnea’ made a positive impression upon me. Of it, I wrote:

“And there you have it. Consider me a convert to the Pure Reason Revolution cause. ‘Eupnea’ is an intelligent blend of electronica, progressive rock that is made all the stronger due to some beguiling melodic sensitivity. I like the music more with every listen and I’m now very excited to delve into the band’s past at the earliest opportunity.”

Almost exactly two years later, Pure Reason Revolution have returned with ‘Above Cirrus’ and this time, the core duo of Jon Courtney (guitar, vocals, keys) and Chloe Alper (bass, vocals, keys) have brought with them a new full-time member to extend the band to a trio. I say ‘new’, but the new addition will be a familiar name to long-term fans, as it’s guitarist/vocalist Greg Jong who features as a full member for the first time since the 2005 EP, ‘Cautionary Tales For The Brave’.

Having spent some considerably time digesting ‘Above Cirrus’, it’s almost a cut and paste job from the quote above in many ways. Once again, Pure Reason Revolution have created a record that, on paper, I shouldn’t really take to, too heavily, but they have won me over. And the success of this new album is the combination of fascinating, deep lyrical content, emotion, the variation of styles, powerful melodies, and strong songwriting that means it all comes together in a really enjoyable package. It’s a bit of a grower too, with several songs suddenly, out of nowhere, finding their way into my brain to be hummed or sung when least expected.

Returning to the lyrics for a moment, and once again, the words are inspired by Courtney’s personal thoughts and journeys, with an overall message routed in optimism. ‘Above Cirrus’ isn’t a concept album though, as each song stands on its own, but with a central idea that ‘through the turbulence, we’ll help each other through the darkness.’ I find this to be an appealing central thread, which only serves to add greater strength and poignancy to the music. Even the cover art, which might seem sad on face value, is an extension of the lyrical content, in that the polar bear is suffering, but is adapting, surviving, and in so doing, offers hope.

Moving on to the music itself, and the electronic nature of the Pure Reason Revolution sound is exposed from the very beginning, with a gentle beat sitting beneath a spoken-word sample. From there, a powerful, almost tribal drumbeat kicks in to move the song forward forcefully, before an equally abrasive riff emerges. There’s a strong energy to the song that’s infectious, and even though I’m not totally sold on the heavily effect-laden vocals at points, the mix of layered male and female vocals really shines. It’s a short, sharp track to open the album, but it contains a melodic intent to ensure it’s as memorable as it is striking.

The contrast between the opener and ‘New Kind Of Evil’ is pronounced, as this song begins much more delicately and sedately, with a much greater emphasis on melody from the outset. That said, you can feel the increase in intensity that’s lurking just below the surface, wanting to break loose. The sense of drama that this creates is excellent, as is the central chorus melody which is one of those big earworm affairs. I also love the precise, yet smooth ebb and flow which leads to a bold release just shy of the half-way mark yet recedes just as quickly into calmer waters. The addition of tinkling piano notes is a very welcome addition, nicely juxtaposing the more overt electronic sounds that appear later in the track, as it ends on an authoritative note.

‘Phantoms’, another shorter composition, is arguably my least favourite on the album, but I do like the more pronounced electronics that feature alongside more male/female duetted vocals. It’s then superseded by one of the very best songs on ‘Above Cirrus’, that of ‘Cruel Deliverance’. It’s a slower, more introspective piece, but it contains the most gorgeous of melodies, the one more than any other that I find myself singing in my head at three in the morning, or whilst out with the dog on the park. Ironically, for one with the moniker of ‘The Man Of Much Metal’, this is also the most mainstream sounding, and least ‘heavy’ of all of the seven compositions on the record. But a great melody is a great melody, and it’s this that speaks to me above everything else. Mind you, the mid-song minimalist, cinematic section is inspired too.

At a touch over ten minutes, ‘Scream Sideways’ is the longest single composition, but it uses the time wisely, exploring a myriad of textures and soundscapes, from gentle, ethereal minimalism to driving prog rock, and from bold, experimental electronic vistas to spiky, aggressive post rock walls of sound. Once again though, despite the variations on offer, the song writing is such that the whole thing feels homogenous, tied together by some subtle melodies along the way.

And to close, we have ‘Lucid’ that is a beguiling track, full of great musicianship, from all members of the band, not to mention further memorable melodic intent. Even the brief inclusion of a saxophone barely dulls my enjoyment of the song, a song that once again shows the expertise in building drama and tension through passages of light and shade, of quiet contemplation, and all-out explosions of near-metallic strength.

On balance, as much as I enjoyed ‘Eupnea’, I can only conclude that I find myself enjoying ‘Above Cirrus’ even more. I’m not sure I can put my finger on quite why, but once the dust has settled and I am able to observe things from a distance, I get the feeling that it will ultimately come down to the strength and potency of the melodies. ‘Above Cirrus’ continues where ‘Eupnea’ left off, but also ups the ante and, in so doing, provides forty-five minutes of genuine musical pleasure. I heartily recommend ‘Above Cirrus’ to anyone with a liking for intelligent, melodic, electronic-infused progressive rock.

The Score of Much Metal: 89%

Check out my other 2022 reviews here:

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Imminent Sonic Destruction – The Sun Will Always Set – Album Review

Artist: Imminent Sonic Destruction

Album Title: The Sun Will Always Set

Label: Independent Release

Date of Release: 15 April 2022

With a name like Imminent Sonic Destruction, you might well expect an intense listening experience, the kind that will blow your ears apart with a ferocity that’s calculated and brutal. To some extent, that’s what you get with this band. However, this only tells half the story as those already familiar with the band will know. Because, whilst there is a great deal of heaviness and brutality within their sound, there’s also an incredible amount of variety too, with echoes or more of many different genres and subgenres of music evident, from progressive metal to djent, and from pastoral prog rock, to groove metal. There’s even room for a bit of classical and, dare I suggest it, a little lighter pop too.

I’m surprised as I listen to ‘The Sun Will Always Set’ the third album of the band’s career, that I’ve not crossed swords with them before. I put it down to circumstance rather than an unwillingness to check them out; every time I’ve had them in mind, something has conspired to prevent a decent listen and therefore a review. Now is the time though, and I have thrown myself eagerly into ‘The Sun Will Always Set’, to find out more.

Formed in Detroit, Michigan in 2011, Imminent Sonic Destruction are about as far removed from their hometown’s most famous export, Motown, as it’s possible to get. Mind you, with such a varied music palette, a brief blast of Motown might not have been that big a surprise to be honest. Ok, so I’m being a little flippant, but I’m being honest when I say that this music is varied. Unusually, the band has remained intact since the beginning, meaning that the 2022 line-up is identical to when they released their debut, ‘Recurring Themes’ back in 2012. As such, you’ll find Bryan Paxton on bass/vocals, Pat DeLeon on the drums, Scott Thompson handling guitars, vocals, piano, and midi pedals, Pete Hopersberger on the keyboards, synths and vocals, with Tony Piccoli on lead vocals and guitar.

This kind of stability has clearly aided the American outfit too, because what I hear on ‘The Sun Will Always Set’ is impressive. I’ll admit that there are a couple of the tracks here that I’m less keen on, but overall, there’s not a great deal to complain about. I’d heard rumblings in the past about the quality of the vocals in places on previous outings, but on that score, things must have improved because again, this isn’t an area that causes me any serious problems. Ok, the clean vocals occasionally struggle when pushed to the limit, but with the variety of the delivery, from clean to growling, to screams, it means that the focus isn’t on one style alone.

I’m pleasantly surprised from the off, thanks to ‘Arise’, the opening track. It starts with a delicate piano and clean female vocals, gently, serenely becoming more cinematic as it develops. The melodies, the strings, and the layers of vocals add depth and gravitas to the piece, meaning that instead of being a throw-way intro, it’s a beautiful beginning.

Within moments though, ‘The Core’ obliterates this gentle introduction with some massively heavy guitar notes and powerful, urgent drumming. The vocals that emerge initially are clean, but then we get a bass bomb and in come the nasty growls that seem more in keeping with the brutal, djenty, metalcore-ish soundscape. The bludgeoning is pretty intense, but there is complexity, as well as differing textures to keep things interesting including a pretty cool lead guitar solo. Despite all this, it’s one of the least impressive tracks on the album in my opinion.

I’m much more a fan of ‘Fledgling’, which feels far more varied and dextrous. From the tinkling of keys to the stop-start djent riffs at the outset, not to mention the more cinematic tones underneath, it presses my buttons much more firmly. And the melodies are much more pronounced, created by some cool lead guitar licks, to a catchy chorus with clean vocals and expansive sound. The track goes off in different directions willingly, with some brilliant technical complexity in the instrumentation, but that big chorus keeps returning, keeping things nicely in check when things threaten to get out of hand.

As good as ‘Fledgling’ undoubtedly is, ‘Nightshade’ has to be my favourite track as I write this review. At over twelve minutes, it’s a bit of a monster, but it’s a brilliant monster. The intro is full-on drama and intensity, with a cool groove materialising, accented by pinched harmonics for which I can be a bit of sucker. I love the bass rumble within this song too, gratified that the very decent production (Nick Hagen, guitarist of fellow US metal band Intransient) gives room for each of the instruments to breathe and be heard. The chorus melody is marvellous, so catchy, and the introduction of acoustic guitars is a very welcome touch. Elsewhere, the band explore overtly Pantera-like grooves, flamboyant musicianship including keyboard and guitar solos, and plenty in between, making it one of the most fun and interesting compositions on the aklbum.

The aforementioned pop-like sensibilities surface within the rather surprising ‘Solitude’, a much gentler track that strangely reminds me a little of Shadow Gallery at points, as well as more recent Devin Townsend. The synths offer a deep resonance, whilst electronic beats supplement those of drummer Pat DeLeon. And the melodies are light, breezy, and oddly soothing. Things do get heavier in the second half, but don’t overrun the melodic intent of this great song.

‘Source’ is another track that I’m slightly less keen on, despite it being a perfectly decent track in it’s own right, but the closing title track ends ‘The Sun Will Always Set’ on a suitably high note. The opening clean guitar notes fill me with joy, as does the ensuing nine-minute passage of music, complete with rich, warm sounds, almost rock-meets-ambient in tone. It demonstrates, once again, that Imminent Sonic Destruction understand dynamics and as heavy as they get, can more than hold their own when things get lighter. The song is a glorious effort, complete with rousing melodies, layers of vocals, and a closing ambient section that could make a grown man cry.

When you add into the equation guest appearances from some notable musicians, including cellist Raphael Weinroth-Browne, guitarist Tony Asta (Battlecross), vocalist Lady Luna (Lady Luna And The Devil), and Dragged Beneath’s vocalist Kevin Wroebel, you begin to realise just how good this band are, and how highly thought-of they are in certain musical circles. And the great thing is, that ‘The Sun Will Always Set’ justifies the high regard in which they are held. Imminent Sonic Destruction have put together a superb record here, one that deserves to see them rise higher and command even more success in the coming years. If you’re a fan of progressive music, then there is definitely something on ‘The Sun Will Always Set’ that is guaranteed to get your pulse racing. Highly recommended.

The Score of Much Metal: 89%

Check out my other 2022 reviews here:

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Soledad – XIII – Album Review

Artist: Soledad

Album Title: XIII

Label: Independent Release

Date of Release: 15 April 2022

I’m so excited about bringing this review to you, for a number of reasons. Firstly, it is a new discovery for me, and those are always exciting. Secondly, this new discovery came from a friend and fellow music journalist, demonstrating that we always try to work together and support each other for the benefit of the music and the bands/artists themselves. Thirdly, this is a self-produced record, deliberately so, in order for the band to stay as independent as possible. I like everything about this, so I couldn’t wait to record my thoughts in this review and get the word out there.

The band in question go by the name of Soledad, and depending on how you look at it, this is either their debut or their sophomore release. Soledad, you see, was born in 2016 by Lola Damblant-Soler and the first recording, ‘Catharsis’ was a solo affair. This record, entitled ‘XIII’, is the first for Soledad as a band in the traditional sense. Joining Lola are a trio of musicians that include guitarists Matthieu Colas and Theo Pinte, and drummer Julien Giet. Lola herself continues to contribute vocals, guitars, and keys, as well as being the primary songwriter for Soledad.

The description that they offer of themselves is sure to get many of you salivating from the outset, as they proudly reference bands like Haken, Leprous, Neal Morse, and Muse in the process. The words ‘pop’ and ‘romantic music’ make an appearance to create an intriguing and exciting prospect. What’s even better, though, is that the music does live up to the hype. In fact, whilst there is merit in the description above, I’d also add A.C.T. in there too, as well as mentioning genres like ‘West End Musical’, ‘classical’, and ‘djent’. It’s a heady concoction and as we all know, throwing a million things into the melting pot does not always work. In the case of Soledad though, the majority of the music works, meaning that ‘XIII’ is a very impressive creation indeed.

What it also means is that it’s a typically difficult album to review in a succinct fashion because of the sheer amount of variety at play. In which case, strap yourselves in and get ready for what’s to come.

The record begins with ‘Hanging Over Me’, a track that has a very A.C.T. art rock feel to it. It starts with piano and vocals, the former delicate but rich, and the voice smooth and almost hushed, whispered. The melody is beautiful, and things only get better with the introduction of drums, bass and guitar, taking the composition into all kinds of directions, from pop, to prog rock, to West End Musical. But at it’s heart is a wonderful energy, so stirring, and elegant. It also has a slightly bittersweet feel to it, with a sense of overriding positivity pushing through despite the album’s dissection of themes of doubt and uncertainty.

After this rousing intro piece, I wasn’t quite ready for ‘Hex’ and its incredibly muscular djent-like riffs, reminiscent of more recent Haken. There are a few harsh vocals in the background too, for added aggression, before guest vocalist Suzie Lou makes a bold appearance. I love the overt progressive nature of the riffing and the complex structures, as well as the way the heaviness recedes on a sixpence to be replaced by sounds of nature accompanied by much more minimal sounds. As the track develops, there are so many layers to uncover, so many ideas going on, but it sounds absolutely spot on, and not overdone or contrived in any way.

The opening harsh mechanical sounds that usher in ‘Migraine’ are entirely in keeping with the song’s title, as are the punishing, thumping drums that mete out a simple but effective early beat. This song features the talents of Hassan Hajdi, and it is the sudden shift into melodic territory that captures my full attention. The juxtaposition between uncomfortable sounds and embellishments, and all-out serene melody, accented by layers of vocals, is inspired, justifying it’s place as one of my favourites on the album. The meandering lead guitar solo is another great touch, showing dexterity and feel to sit alongside some chunky, heavy riffs.

From there, we are led to ‘Fading Sight’ which has a much more whimsical feel to it, with plucked strings creating the opening delicate sounds alongside Lola’s soft voice. The final minute or so features a heavier soundtrack, but the opening melody continues unhindered by the weight of strong riffs – if anything, it is only enhanced and firmly supported by them.

By contrast, ‘Shelter I’, featuring guitarist Jeremy Bares, has a much more modern feel to it, coupled with a lush classical-infused slow waltz tempo. Strong but reserved djenty riffing plays an important part, bringing those Haken references to the fore. The incongruous slide guitar sounds from Bares actually work in a strange way as this composition highlights the greater art-rock drama and theatrics that are very much a part of the Soledad sound.

Having only described five of the eleven tracks thus far, I feel I need to change tack to prevent you all falling into a coma. However, it’s so difficult to do so because there’s still so much to discuss. ‘Shelter II’ is another favourite, with bucket loads of over-the-top pomposity and strong performances from all corners of the band. To me, this is the sound of the lovechild created by an illicit rendezvous between early Haken, A.C.T., and even Queen at their most outrageous. The central chorus melody is an utter delight and bathes the entire song in its warm glow.

The title track sounds like I’m walking past a nightclub in the early hours, with the electronic beats just about audible through the tightly closed doors. But then we’re whisked away on a metallic carpet, across aural soundscapes that are really rather diverse and ambitious. I can certainly hear the Leprous vibes, but again, there’s so much going on that it’s hard to pinpoint just one reference. By the time you become familiar with the path upon which you’re treading, Soledad take you elsewhere. None more unexpected than the all-out classical interlude at the heart of this song, that makes you feel like you’ve stumbled into a performance of ‘Swan Lake’ and then back to the prog metal via a Disney soundtrack. I love it, and you’ll be hard-pressed not to, I guarantee it, as the commitment to their art is so palpable at this point.

One of the most arresting and heart-breaking melodies appears within the stunning ‘The Spell’. Again, piano and vocals take the lead here, embellished lovingly by strings until the heaviness descends in the latter stages to add extra gravitas to that opening melody that so captivates me. ‘Remedy’ continues the excellence, with more effortless skill and powerful songwriting, before the album’s longest track arrives in the form of ‘Remembrance’. As you might expect, it dances all over the place with delight, taking us from dark and foreboding, to light and playful in the blink of an eye. Again, the chuggy riffs and muscular rhythms are well-placed and underline just how properly heavy Soledad can be when the mood fully takes them. But such is Lola’s voice that everything is laced with a smooth, effortless visage. And the sheer power and beauty of the final three or so minutes is utterly spellbinding, the way it ebbs and flows, building the tension, only to release just as I hoped it would with a flurry of dexterity, particularly the drums.

‘XIII’ is a 58-minute record and yet it really doesn’t feel like it’s that long. Before you know it, you’re listening to the concluding track, ‘Amnesia’, a song that cleverly reintroduces melodies and ideas heard at earlier points on the album. But here, the melodies feel even more expansive and emotive, pulling many of the album’s strands together neatly in the process. And that final guitar solo is nothing but sheer musical nectar. I’m so glad I was introduced to Soledad, because the French quartet have impressed me immensely with their ambitious, bold, eclectic, and slightly eccentric musical vision. I really hope that this review has whetted your appetite, because if not, I’ll be gutted. Not only because I’ll have clearly lost my touch as a reviewer, but also because it might mean that a truly marvellous record will have slipped past you. Please don’t let that happen – listen to ‘XIII’ and, I hope, prepare to be entertained and captivated like I have been. This is easily one of the best progressive records of 2022 so far.

The Score of Much Metal: 95%

Check out my other 2022 reviews here:

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here: