This band has been around for over 20 years and there have been multiple band members come and go. So, with just 3 albums and 1 EP during that time, I’m not expecting anything else from them anytime soon. This latest album will have to do for now, and that’s just fine by me.
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Dawn of Ouroboros is an outright mythical sensory experience.
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I have no doubt that this album will be popular given enough exposure/publicity. Which of course is what we at the Progspace strive to do, especially for these relatively unknown bands. There is plenty of creativity, resulting in a mixture of styles from progressive metal to funk and much more, with a generous sprinkle of modern metal.
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“The Great Filters” is a great exploration of a question that has been inspiring astronomers, physicians, philosophers and conspiracy theorists alike. The album dives well into the matter, both lyrically and sonically.
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Like all the best albums The Ossuary Lens gets better with every play because there is so much going on. If, and I hope this is the case, an eighth album is planned then bring it on I say.
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The combination of Finnish lyrics, seamless blending of aggression and melody, and a beautiful approach to vocal layering, makes Vermilia’s music a constant clash of contrasting aesthetics that seems to reflect nature itself.
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“Timeless Reverie” feels bold, daring and willing to venture into unsafe, unexplored creative territory.
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I’ve been thinking of them as a metalcore band, but I think that label might’ve become obsolete by the time they made “Macro”.
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This EP isn’t anything I haven’t heard before. But it was mostly intended to be a compact dose of energy with some catchy hooks and grooves. And that mission was fully achieved.
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There is no denying that there is a lot of talent on show here. Frogg obviously have a desire to produce something unusual and it will be interesting to see where they go from here.
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This is an album that showcases The Five Hundred’s willingness to push boundaries and explore new musical territories. I’m sure they must be very happy with the results of their hard work. Hopefully this will inspire them to evolve even further and I for one can’t wait to see where this exciting band goes next.
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Distant Dream isn’t trying to blow minds, break records or reinvent the wheel in any way. They’re more in the business of providing pleasant emotional value and superb sound quality, for a fully immersive listening experience.
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This man never fails to impress with his musicality. Whether it be extreme or melodic and everything in-between, it is always accomplished and professional. I am sure some of you are hoping for a resurgence of Spires like I am. For now though, whatever he chooses to compose is just fine by me, because the quality is guaranteed. Who knows what will be next? Whatever it is, it’s bound to be worth waiting for.
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Hopefully there will be much more to come from Dream Theater. If this album is representative of their future musical direction, then count me in for the ride.
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With their second album, Danish metal band Danefae have dished up a fusion of progressive metal and traditional Nordic musical traditions. In short, it’s progressive metal with Danish lyrics. The album has a title of “Trøst” which translates as Solace and the songs are personal stories inspired by folk legends.
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Distant’s latest release is pretty much what you’d expect from a down-tempo deathcore album, but it does it more interestingly than the norm.
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“Hush” displays a lot of compositional variety, and offers a strong throwback to prog metal classics while also keeping a unique sound and mixing in unexpected elements.
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Their sound is exploring the grey area between modern technical death metal and deathcore, and they’re also throwing in hints of djent and black metal, just to make the concoction of extremity as wild as it gets.
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Power metal isn’t exactly my go-to genre. But something clicked for me when I was watching the video to ‘War Hearts’ and all of a sudden, instead of coming across as “power metal”, I felt like I was just witnessing some brilliant songwriting.
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Anyone who’s familiar with the band’s previous work should know what to expect. They’re loyal to their sound and not exactly reinventing themselves with this album.
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When done right, I feel like black metal can evoke some abstract and unspecified emotions of a primal nature, and that’s probably the strongest takeaway from Gaerea’s latest album!
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“Magna Mater” is a very immersive and atmospheric album, but that does not mean it’s not heavy. Rather, all the heavy riff elements have a different purpose than you’d expect.
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I wouldn’t be surprised to find out that Charlotte has like 3 masters and a PhD in the aesthetics of emotional vulnerability.
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What bands like Atomic Guava have taught me is that a hook is best served with technical complexities on the side.
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The music becomes a vehicle for imaginative escapism, taking the listener into a both sensory and symbolic trance, which, despite its otherworldly aesthetics, becomes brutally and viscerally real by the time the album is over.
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I don’t think anyone’s expecting by now that Devin will ever put out a “bad” album.
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If you want your mind blown by something groundbreaking, there’s not much for you here, but if you just want to jam some gripping and well-executed death metal, then look no further. Haliphron has you covered.
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Their songwriting, emotional delivery and technical abilities have not only improved, but also started coming together in a more coherent and meaningful way.
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They score big on originality, production, shock factor and technical skill. But I feel this release suffers a lot from the disjointed songwriting and the excessive use of sound effects.
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It’s incredible how an album without any lyrics can paint pictures of ancient civilizations so vividly. How one can experience life and death, nothingness and infinity, through it, sonically.
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