Style: Drone, ambient, post-rock (Mixed vocals)
Recommended for fans of: Sumac, Sunn O))), Swans
Country: Connecticut, United States
Release date: 1 August 2025

A ghost yearns for escape from the house in which they died, contemplating the weeds that grow over their grave; a man sees the reflection of a familiar yet contorted face in place of his own in a bathroom mirror, slowly eroding his sanity; at the end of a hopelessly long corridor, blasphemous rituals force prophecy out of the mouth of a severed head. Stories of haunting tie a past that cannot be ignored to the present, occupying spaces both physical and mental. Kayo Dot‘s latest record, Every Rock, Every Half-Truth Under Reason, lives wholly in this haunted world, casting incorporeal shadows on doorways through amorphous, experimental post-rock and shrill, brittle drone. Can Kayo Dot exorcise the ghosts of their past, or will the specter of half-truths loom forever?

Reuniting the lineup from Kayo Dot‘s 2003 debut Choirs of the Eye, flashes of the group’s past manifest in elements of Every Rock. The spoken word passages that adorn “Oracle by Severed Head” and lengthy ambient piece “Automatic Writing” recall the poetry present in many of Choirs‘ pieces. The freeform post-rock from the debut is let even further off the reins as “Oracle by Severed Head” and “Blind Creature of Slime” contort notions of song structure and rhythm into something even more obscure and unrecognizable. What is noticeably new, though, is the presence of sonoristic drone pieces, sitting in high-pitched and microtonal chords for lengthy periods accompanied by hoarse harsh vocals. Lyrically, Every Rock is teeming with the paranormal, crafting imagery around desecrated bodies (“Oracle by Severed Head”), a paranoid decay of wellbeing (“Closet Door in the Room Where She Died”), and entities bubbling with indiscriminate hatred (“Blind Creature of Slime”).

The signature compositional style of Every Rock is one of sheer intractability: well-defined beginnings and endings seldom appear across its extended pieces, and tracks are labyrinthine in structure. Opener “Mental Shed” immediately introduces harsh vocals and gleaming organs with no fanfare, suddenly transporting the listener into a painfully bright liminal space that stretches endlessly in all directions. The only musical footholds are clambering percussion and faint, ephemeral woodwinds. “Closet Door in the Room Where She Died” embodies a similar form, being led along by shrill keyboards, menacing strings and woodwinds, and wailing shrieks from Jason Byron; occasionally, a ghastly choir vocalizes in response to the maniacal ramblings of the narrator. From this Lynchian compositional approach arises an ineffable discomfort and occasional terror as the scant elements that engender a sense of familiarity either quickly fade away in wisps of smoke or melt into something unrecognizable.

Every Rock‘s post-rock tracks are similarly esoteric, albeit with an execution based on heavy use of free-time rhythms and asynchronous accents. “Oracle By Severed Head” gently introduces jangly guitars, splashing drums, and placid woodwinds which ebb and flow around Toby Driver’s diaphanous vocals. Everything plays in the same oscillating rubato but on wildly different accents, as if the constituent parts are a stewing suspension where each component is magnetically repelled from the other. Near its end, strings congeal each element into a towering behemoth as the track builds into a massive climax. “Blind Creature of Slime”, on the other hand, is compositionally stubborn, sporadically iterating on a single guitar phrase underneath a forceful and powerful vocal performance. The track begins on its highest note, wrapping its tendrils around the listener’s consciousness and forcing them to face the narrator’s blinding hatred, but spins its wheels for a touch too long. There is an intentionality in its repetitious unease, but by the end, I’m broken out of the suspension of disbelief needed to buy in to “Blind Creature” fully.

Working in tandem with the subtle evolution in Every Rock‘s tracks is the overall album pacing. Many of the record’s most stunning moments are born from the contrast and transition between drone and post-rock. The transition from “Mental Shed” to “Oracle by Severed Head” feels all the more cathartic and dreamy due to the intense release from the former’s shrill synthesizers into the latter’s hazy and relaxed instrumentation. The petering out of “Automatic Writing” makes the explosive introduction of “Blind Creature of Slime” even more intense. Additionally, the break in the piercing organs in the final third of “Closet Door in the Room Where She Died” creates a stark and powerful silence after they etch into the listener’s consciousness for ten-plus minutes. The longest track, “Automatic Writing”, is comparatively weaker when looking at the other drone tracks. In concept, the piece is compositionally brilliant, slowly coalescing its constituent parts from a blurry fuzz into wistful ambient passages with longing poetry, delicate soundscaping, and ascendant group vocals; I just wish it reached homeostasis more quickly. Its mammoth introductory segment evolves at a glacial pace—even Driver’s vocals are rendered textural as notes are held out for remarkably long intervals. Were “Automatic Writing” edited down, it would likely have the same emotional impact as the aforementioned tracks, but stands as a bit too meandering to fully earn its runtime as-is.

Every Rock, Every Half-Truth Under Reason is a brilliant, though occasionally flawed, marriage of the relatable and the surreal. Ultimately, the record chooses not to exorcise its ghosts, but instead invokes them, asking the listener to share the space and embrace the discomfort of that which is unknowable and irresolute. By cleverly subverting ideals of song structure, rhythm, and tonality, Every Rock fully embodies the liminal spaces inhabited by that which haunts us.

Recommended tracks: Oracle by Severed Head, Closet Door in the Room Where She Died
You may also like: Khanate, Alora Crucible, The Overmold, Natural Snow Buildings
Final verdict: 7.5/10

Related links: Bandcamp | Official Website | Facebook | Instagram | Metal-Archives

Label: Prophecy Productions – Bandcamp | Facebook | Official Website

Kayo Dot is:
– Toby Driver (vocals, guitar, bass, keyboards, organs, clarinet, flute, drums)
– Greg Massi (guitars)
– Matthew Serra (guitars)
– Sam Gutterman (drums, vibraphone, percussion)
– Terran Olson (clarinet, saxophone, flute)
– David Bodie (percussion)
With guests:
– Jason Byron (vocals, track 3)

The post Review: Kayo Dot – Every Rock, Every Half-Truth Under Reason appeared first on The Progressive Subway.

Style: symphonic deathcore (harsh vocals)
Recommended for fans of: Lorna Shore, Synestia, Disembodied Tyrant, Fleshgod Apocalypse
Country: Connecticut, United States
Release date: 27 June 2025

At metal concerts, I’m much more of a “stand in the back next to the sound guy and headbang” guy than a mosher. Call me lame and not a real metalhead¹, but risking bodily injury AND getting a worse quality of sound just isn’t worth it to me; it takes something special to get me in the circle. Shadow of Intent in concert earlier this year kicked so much ass I ran around in the silly circles, even participating in my first wall of death—of course, part of the reason I moshed was because my Subway nemesis Dylan was present at the show, and I couldn’t pass up a free chance to shove him. I’ve been a fan of the (previously) Halo-themed symphonic, sometimes technical, deathcore band since I was just getting into metal (and will still argue that Reclaimer is a top five deathcore album of all time), but I’d cooled on the Connecticut group’s output since 2019’s album Melancholia—not for lack of quality, just a natural evolution of taste. Will Shadow of Intent’s new album, Imperium Delirium, capitalize on nostalgia and the momentum from their concert experience?

Imperium Delirium sure sounds like Shadow of Intent, the band continuing their at-this-point formulaic approach: bombastic fake orchestration, searing guitar solos, inhuman vocals, and, of course, breakdowns galore. And now on their fifth album, Shadow of Intent’s formula is tried, true, and predictable. The opener “Prepare to Die” shows off the full spectrum of the band’s sound with an over-dramatic symphonic intro leading into Ben Duerr’s shotgun gutturals, while drummer Bryce Butler goes ham. After a brief reprieve from the overwhelming wall-of-sound’s epicness, Chris Wiseman sets fire across his frets. The song develops a little more underneath a blazing riff until its ending breakdown. No matter how shreddy and cheesily orchestrated Shadow of Intent get, they never want you to forget that they’re in the neck-snapping business—and damn good at it. Unfortunately, every track (except instrumental “Apocalypse Canvas” which made me audibly exclaim “they have a bassist?!”) unfolds similarly, if not with “slightly varied” song structures—that is, where will the breakdown, chorus, and solo be this time?

As always on a Shadow of Intent album, the synthesized orchestration makes Imperium Delirium engaging and fun, as do the guitar solos and choruses with their cleanly screamed crowd chants. The orchestration gets significantly drowned in the mix because so many layers of instrumentation and metal are happening at once, yet their background presence is enough to make Imperium Delirium feel cinematic, albeit a bit played out at this point. Often, the album’s highlight moments are backed by orchestration, such as on “The Facets of Propaganda.” While incredibly cliche with its stereotypically Middle Eastern melody and instrumentation, the track is wild, playing with centering the orchestration. However, directly clashing with the warm cinematics of the synthesized orchestra is a horribly misplaced electronic keyboard sound that reappears over and over throughout the album, curdling the orchestration like a lemon in milk. For instance, “Flying the Black Flag” uses the keys in its initial breakdown, and in “They Murdered Sleep” they crop up throughout as a cheap sounding nuisance. Conversely, the real piano that Shadow of Intent are prone to use in the rare chill moments is awesome—the band should have stuck with that.

Unlike your average metal elitist², I love a good breakdown, especially seeing how pivotal they are to a deathcore band like Shadow of Intent in a live setting. Ben Duerr is a stellar vocalist with unreal gutturals and vowel enunciation, and he switches between several styles during each breakdown, from Archspire-esque quick-flow vocals to vicious screams and deep barks. Every breakdown in Imperium Delirium seems identical, though, undifferentiated from any other competent deathcore band. atop janky, unpredictable rhythms, and brown-note chugs. If you’ve ever heard a deathcore breakdown, all of the dozen or more on this record will be redundant despite Duerr’s outstanding vocal capabilities and Shadow of Intent’s symphonic schtick. 

Five albums in, and it seems like Shadow of Intent are done evolving. While their formula is undeniably solid, the creative spark of the first two albums ran out of fuel. Imperium Delirium is an entertaining symphonic deathcore album when that’s all the rage with the -core kids right now (looking at you, Lorna Shore), and the record is solid fun. And although it lacks the stunning and fresh ideas of Shadow of Intent’s older records, at least I know the songs on Imperium Delirium will be fun live!

Recommended tracks: The Facets of Propaganda, Apocalypse Canvas, Imperium Delirium
You may also like: Mental Cruelty, A Wake in Providence, Ovid’s Withering
Final verdict: 5/10

Related links: Bandcamp | Spotify | Official Website | Facebook | Instagram | Metal-Archives

Label: independent

Shadow of Intent is:
– Ben Duerr (vocals)
– Chris Wiseman – Guitar/Keyboards/Vocals
– Bryce Butler – Drums
– Andrew Monias – Bass/Vocals
With guests:
– Corpsegrinder (vocals, track 7)

1. As the vocalist of Decrepit Birth did to the non-moshers at their concert recently, which is no way to treat paying concert-goers, especially when you play in a low B-tier tech death band who can’t produce an album well. ︎
2. Let it be known I am an elitist, just far above the plebeian average elitist. ︎

The post Review: Shadow of Intent – Imperium Delirium appeared first on The Progressive Subway.

Style: Art Rock, Post-rock (Clean vocals)
Recommended for fans of: Soen, David Gilmour / Quieter Pink Floyd, Ulver
Country: Connecticut, United States
Release date: 20 September 2024

Well, here we are again: another day, another Toby Driver project. Given that much of his output sits considerably far outside of my comfort zone, I would have never seen myself as the Subway’s main Toby Driver music cover-er, yet I stand, egg on my face, having just reviewed the lovely (if not slightly terrifying) Oak Lace Apparition by Driver’s Alora Crucible project along with a Lost in Time for Kayo Dot‘s Hubardo, an album I have fully come to terms with after a long and complicated relationship with it. At this point, it’s only fitting that I also discuss his latest solo effort: Raven, I Know That You Can Give Me Anything. How does it stand against the rest of his storied career, and most importantly, can the raven give us things too?¹

Ironically enough, through its straightforward and stripped-back compositions, Toby seems to be stepping way outside of his comfort zone, as Raven is a stark departure from most of Toby Driver’s projects: one of the defining facets of Driver’s music is a heavy reliance on uncharacteristic and otherworldly chord choices. Even the quieter, more serene moments of earlier work like Hubardo’s “The Second Operation: Lunar Water” incorporate an element of unease through frightening vocal patterns and strange tunings. Raven, on the other hand, has more in common with mid-2010s solo output Madonnawhore and They Are the Shield, manifesting as a lush, laid-back, and serene art rock piece. Delivering as a base subtle guitars sitting on a bed of synth atmospherics, gorgeous and raw vocals that center the music, and drums that gently push the listener along, Raven also features the occasional flute (“Someday There’ll Be an Avalanche”), slow yet hefty atmospheric outings (“Antinous in the Nile”), and at times reaches a powerful climax through voice and guitar interplay (“Raven, I Know That You Can Give Me Anything”). Many songs even feature gorgeous vocals by Ana Cristina Pérez Ochoa that interplay with Driver’s to excellent effect along with backing vocals peppered throughout by Nick Hudson.

The lack of avant-garde instrumentation and progressive songwriting sets precedent for a reliance on simpler soundscapes and increased focus on vocal performance and lyricism; as a result, Raven is undeniably a mood piece, the lush-but-restrained instrumental backdrop giving Driver plenty of room to spill his soul out through lyricism. In typical Toby Driver fashion, the lyrics are shrouded in a touch of surrealist imagery juxtaposed with very real and visceral lines: take “Raven, I Know That You Can Give Me Anything,” which describes a being that Driver relies on in his darkest moments: “Raven by day and after darkness a doe in the churchyard / She blesses whomever will look at her footprints and wonder / Where she might go and what she might know / And why she is high / and I am low?” or “Transdimensional Alluvium” in which Driver describes his complicated relationship with his hometown: “A sodden step to Erebus / A speculum / Vaginal corridors from the banks of Mnemosyne / Darkened by decades of apathy / In a town that cannot dream.“ Toby’s struggles and triumphs are transferred from lyrics to vocals expertly: “Shankha” spends virtually all of its runtime ruminating on mournful vocal melodies; the title track soars above the clouds in its most climactic moments; “Antinous in the Nile” mourns the loss of young love through Toby’s crying out “Too soon, too soon, too soon;” and closer “Talismans to Keep Me” shows some of Driver’s most delicate singing overtop a menacing and seedy guitar tone.

If there’s one thing that could augment Raven’s experience, it would be to further flesh out the elements that are briefly introduced throughout the album: for example, “Someday There’ll Be an Avalanche” features a glorious flute section that is unfortunately never seen again, a problem compounded by a couple of weaker tracks in the middle stretch that could benefit from a little extra decoration in their composition. Further implementation of these elements would cement the already strong sense of cohesion that Toby has established on Raven even more intensely; I wouldn’t mind an extension of the album by a couple minutes if it meant a tasteful incorporation of these ideas throughout the rest of the runtime.

Nevertheless, what we received from Toby Driver is nothing short of solid, and Raven, I Know That You Can Give Me Anything makes for a strong contender as my new favorite piece of his. Within a limited sonic palette, Toby Driver creates gorgeous soundscapes that are centered by his raw and evocative vocal performance, introducing just enough variation and melodies of interest to keep the experience engaging. Given his light and folky experimentation earlier this year with Alora Crucible, his previous experiments with quieter music on Madonnawhore and They Are the Shield, and now on Raven, Toby seems to be eschewing the intense and chaotic expression found in Kayo Dot, maudlin of the Well, and earlier solo projects for something softer, more serene, and more accessible, and I couldn’t be happier about it. While I always appreciate his avant-garde experimentation, Raven shows with certainty that Toby Driver has no problem operating within the realms of more straightforward compositions.

Recommended Tracks: Ticking Timebomb, Raven, I Know That You Can Give Me Anything, Talismans to Keep Me, Shankha
You may also like: Fjieri, Kayo Dot, Good NightOwl, i Häxa
Final verdict: 7.5/10

Related links: Bandcamp | Spotify | Official Website | Facebook | Instagram | Metal-Archives

Label: Ice Level Music – Bandcamp | Facebook

Toby Driver is:
– Toby Driver (vocals, guitars, bass)
– Ana Cristina Pérez Ochoa (keyboards, vocals)
– Samuel Gutterman (drums)
– Nick Hudson (backing vocals)

1. Quick story time: I’ve always wanted to befriend a corvid (ravens, crows, any really) because they are known for leaving gifts in exchange for food. Unfortunately, I’ve never had one hang out regularly enough to befriend, though I have learned that dog food is particularly high in nutritional content that is important for crows. ︎

The post Review: Toby Driver – Raven, I Know That You Can Give Me Anything appeared first on The Progressive Subway.

Style: Progressive rock, hard rock, AOR (clean vocals)
Recommended for fans of: Rush, Yes, Steven Wilson, Riverside, Transatlantic, Frost*
Country: Connecticut, USA
Release date: 12 July 2024

While there are a few Christmas prog albums out there, you’re nevertheless more likely to hear bands like Disillusion sing about “Wintertide” than yuletide. So it’s notable that Connecticut prog rock group Mile Marker Zero first came to my attention through their Christmas covers. The group have delivered a handful of reimaginings of classic Christmas songs in the style of various prog legends: “Most Wonderful Time of the Year” in the style of Opeth, “Winter Wonderland” in the style Genesis, “Sleigh Ride” in the style of Rush. And they deliver: the Opethisms on “Most Wonderful Time of the Year” are stylistically on-point from that first satirical diminishment; Mile Marker Zero are adept prog impressionists. But can that add up to originality and acumen when it comes to original compositions? 

On Coming of Age, Mile Marker Zero have really developed into a commercial prog sound, moving away from the more conceptually intrepid The Fifth Row and applying a lustre of spit and polish. The change of direction is akin to that of their beloved Rush whose hard rocking prog tendencies in the ‘70s were tempered by the pressures to conform to the ‘80’s commercialised milieu allowing them to relax into a poppier gear¹. In Mile Marker Zero’s case, that move is into a more album-oriented rock mode with an emphasis on personal lyrics without compromising on the instrumental complexity and ambition. “Best is Yet to Come” opens the album (after the brief intro track “A Time in Place”) with a ‘Steven Wilson at his most Rush’ style bang, the tense strumming of the verse building tension toward a cathartic and optimistic chorus which, on its final iteration, comes back fuller, layered with added subtleties. This really underscores the Mile Marker Zero approach to composition: typical verse-chorus structure but piling on little affectations and distinctions within that more rigid structure, plus a nice long bridge for the band to stretch their legs with solos, noodling about on keys, more complex riffs, and other fun little sections. It’s a tried and tested formula, but one which takes talent to pull off. 

Fortunately, over time Mile Marker Zero have honed their talents: Dave Alley’s dry tenor is stronger and more disciplined, and the composition is focused. The band are sparing with the guitar solos, but when John Tuohy takes the limelight he lays out melodic shred in the vein of Howe or Lifeson, as on “Best is Yet to Come”. “Heavy Days” opens with the most fast-paced riffing, some classic Geddy-esque basswork from Jaco Lindito and a chaotic keyboard solo that recall The Fifth Row’s relative heaviness. Lindito shines throughout, a truly interesting bassist whose contribution sits proudly in the mix—I only wish his solo that closes “Far From Home” went on longer. 

“Towns to Grow Up In” is a nostalgic paean to the homes that form us, its dewy-eyed wistfulness feels more suited to the likes of Tom Petty or Bruce Springsteen, an all American anthem full of the spirit of the late seventies.² Meanwhile, “Bizarre” is more of a swing, its sound recalling that of Steven Wilson’s last four albums with its stripped back trip-hop vibe, simple piano chords, and post-rock style of layering synth and guitar elements into a climax. The title track also takes an interesting punt on a marimba effect backing the track throughout. At first I found its constant presence a little irritating, but I’ve come around to it on repeat listens, plinking away in the background like the reassuring patter of raindrops as the track moves into an absolutely gorgeous Gilmour-esque acoustic solo, topped off by an emotive climax that prove some of the record’s most arresting moments.

If Coming of Age suffers anywhere, it’s in the more saccharine AOR moments, “Towns We Grew Up In” and “End of August” being the biggest offenders—although, to the band’s credit, both tracks evolve into more interesting sections. I suppose it comes down to a question of cliches: I think Mile Marker Zero manage to weaponise the Rushisms and Yesisms to their advantage, but whenever things go a bit Foreigner or Boston, Coming of Age feels less ‘inspired by’ and more straightforwardly cliched. And yet, when “End of August” builds to its lovely reprise of “The Best is Yet to Come”, cutting out on the final chant of the title just before the last word, you won’t find me without my lighter in the air. Sometimes the cliches just work. 

We don’t cover modern prog rock so often here at the Subway, and while that’s something we’re trying to address, part of the reason is there’s little to say about all those “What if Pink Floyd had been dull post rock?” releases or the Genesis worshippers selling themselves by the ton who sound so sanitised and have found nothing new to say in fifty years. Mile Marker Zero’s dynamic mix of a modern Steven Wilson/Riverside gloss built upon classic Rush and Yes influences has the necessary bite to engage, and enough creative decisions to earn your attention. It seems like Mile Marker Zero have finally [dramatically removes sunglasses] matured.

1.  One wonders what would happen if any prog band had ever had an interest in cocaine. Although I guess King Crimson’s ‘80s output was manic enough and the hardest thing Robert Fripp was on was pescetarianism. ︎
2.  Fitting given that, what with all the ultra-conservative posturing to take power with witch hunts and assassination attempts in tow, America really feels like it’s about to enter 1980 again. ︎

Recommended tracks: Best is Yet to Come, Heavy Days, Coming of Age
You may also like: Advent Horizon, Southern Empire
Final verdict: 7.5/10

Related links: Bandcamp | Spotify | Official Website | Facebook | Instagram | YouTube

Label: Independent

Mile Marker Zero is:
– Dave Alley (vocals)
– John Tuohy (guitars)
– Mark Focarile (keyboards)
– Jaco Lindito (bass)
– Doug Alley (drums)

The post Review: Mile Marker Zero – Coming of Age appeared first on The Progressive Subway.

Style: melodic death metal (harsh vocals)
Recommended for fans of: Insomnium, Shylmagaghnor, Be’Lakor, Swallow the Sun, Countless Skies
Review by: Andy
Country: Connecticut, United States
Release date: 28 April 2023

In days of yore, melodic death metal gave young Andrew—yes, so long ago he didn’t yet go by Andy—a glimmer in his eye, and Amon Amarth was surely the soundtrack for his first chest hair sprouting out while he yelped out the most masculine warrior bellow ever heard. Drawn toward the strange dichotomy of pretty melodies and gruff harsh vocals—and ideally some blast beats as the cherry on top—he could never possibly grow sick of the style: music had surely peaked with Be’Lakor. Many years later, and jaded Andy scoffs at melody. I have transcended such remedial musical needs as being “pleasant”; I snort up “unlistenable” avant-garde black metal and whatever freaky noise Tim sends my way like the bear in Cocaine Bear snorts cocaine; I shirk away from that which once seemed to be the unarguable pinnacle of music. Occasionally, though, an album has such euphonic melodiousness that I am forced to remember how superior a dulcet guitar lead can be.

Fires in the Distance filled Air Not Meant for Us chock full of sonorous, mellifluous leads which saturate each song with more ear candy than the surgeon general recommends for a month; however, the rich rhythm section and somber, rainy-day atmosphere prevent the whole thing from being too saccharine for my taste. I crave the melodies across Air Not Meant for Us like I’m fourteen years old just getting into metal for the first time. Skip to any part of the album, and the odds are overwhelmingly in favor of hearing a bombastic guitar part, a cute little piano lead while the guitars chug a bit more death-y in riffage style, or a heart-wrenching, harmonized guitar solo.

The opener, “Harbingers,” is on the song o’ the year shortlist precisely because of its scrumptious, euphoric melodies and harmonies. From its rainy piano intro and first humongous guitar swell to solos like those at 7:40, Yegor Savonin and Kristian Grimaldi show they aren’t the flashiest guitar players in the world, but their sense for what sounds appropriate both apart and together is absolutely astounding. I have listened to this song on repeat to be re-baptized in melodic guitar parts and darling piano bridges each time.

Many an album has had a stellar instrumental highlight without being cohesive as a full sound, but Fires in the Distance expertly add some heft to ground the soaring guitars and piano. Breathable, airy production of the treble parts allows the more mid and bass heavy instruments to boast a deep, doom-y weight. The drumming, bass, and rhythm guitar all chug along as a perfect accompaniment for the higher pitch solo instruments to shine, neither too distracting nor too bland. Craig Breitsprecher and Kristian Grimaldi’s harsh vocals are suited extremely well for the music, too, a crystal clear deep growl reminiscent of Geroge Kosmas (Be’Lakor). Along with the powerful, reverberant depths of sound from the low end, Fires in the Distance have really struck a fantastic balance between heft and lightness for melodeath with their formula and production. 

While Air Not Meant for Us endlessly throws enchanting moments at the listener, I think a bit of variation would go a long way. “Adrift, Beneath the Listless Waves” picks up the pace from a doomier crawl into a more traditional melodeath gallop, and the tracks change up the song structure a bit among themselves, but for the most part, Air Not Meant for Us is a lot of a band knowing what works well and exhausting the idea. Their schtick is done convincingly enough that I hardly care, but adding in occasional cleans a lá Countless Skies or perhaps some other appropriately honeyed instrument like the cello could elevate them to dizzying heights.

Of course my intro is playing into the bit a tad; I still understand the intrinsic power of a perfect melody, but I have grown tired of the genre, finding the vast majority of albums to be pitifully uninspired. Fires in the Distance have transcended that to create a wonderful listening experience that’s appropriate for 2023’s final breaths and the new year fast approaching.

Recommended tracks: Harbingers, Crumbling Pillars of a Tranquil Mind
You may also like: Hinayana, Atavistia, Ocean of Grief, Enshine, Cold Insight, Slumber
Final verdict: 8.5/10

Related links: Bandcamp | Spotify | Facebook | Instagram | Metal-Archives page

Label: Prosthetic Records – Bandcamp | Facebook | Official Website

Fires in the Distance is:
– Craig Breitsprecher (vocals, bass)
– Jordan Rippe (drums)
– Yegor Savonin (guitars, synths)
– Kristian Grimaldi (guitars, vocals)

The post Missed Album Review: Fires in the Distance – Air Not Meant for Us appeared first on The Progressive Subway.

Style: Progressive Death Metal (mixed vocals)
Review by: Dan
Country: USA
Release date: 30 April, 2021

The incredible diversity of extant music provides a nearly infinite palette from which to paint new recordings upon the canvas of silence, yet only a few offerings each year seem to provide truly fresh colors to the saturated landscapes of death metal. I would argue that Conquistador, the sophomore full-length from the brothers Kaminsky, is indeed such an album. Combining disparate influences of Opethian folk, grunge, desert rock, and borderline dissonant black metal into a highly dynamic and razor sharp stream-of-consciousness journey, Stone Healer has created something delightfully fresh and enjoyable, without being so far out of the mainstream norm as to be unpalatable.

For me personally, I create the music that I wish existed in the world: a unique combination of influences that combine together to fill a void. I sum together aspects I love from music I love, and the end result is unquestionably mine. From this perspective, I feel an incredible kinship with Stone Healer‘s everything-but-the-drummer Dave Kaminsky. On Conquistador, his self-professed love of rock and roll collides with his desire for blastbeats, and thus the unlikely musical chimera that is Stone Healer takes form.

From the opening southern-tinged acoustic guitars, cowbell, and heartfelt singing of “One Whisper,” the wild ride that follows is hard to predict. It rocks and it rolls through catchy choruses, emotional pleas, and convulsing blackened mindfuckery that nods to both Ulcerate and Krallice in its meandering melodies and impossibly tight drumming change-ups. There’s an impeccable balance between straightforward grooves and technical, odd-metered unpredictability. Chemistry borne of a lifetime of siblings playing music together is evident in every note – Dave and Matt are flawlessly synchronized, and seem to read each others’ minds in a way only years of experience together can produce. Every transition is thoughtfully crafted for maximum impact, and every passage is carefully composed in context. Don’t let the disparate elements described above dissuade you – the songwriting here is absolutely outstanding. The riffs are melodic and soulful, the arrangements are dense and multifaceted, and the lengthy songs are full of – and induce – effortless movement.

The lyrics, too, are deeply personal and brutally honest, detailing a challenging period of Dave Kaminsky’s life. Their delivery though may be the weakest part of Conquistador. They never really enter the fully harsh and distorted realm of typical black or death metal vocals; instead, the harshes are kind of shouty screams, pained and painful sounding, though largely competent. The melodic singing – which makes up the majority of the record – ranges from grungy bravado, to Alice in Chains-inspired harmonies, to more intimate crooning, but I do wish it was a bit stronger in a few places. There’s a slight unsteadiness to Dave’s voice that’s both endearing and earnest, but also slightly off-putting if you’re seeking musical perfection.

Looking past this initial judgement of the vocals, however, one finds a memorable and compelling combination of phenomenal guitar playing, unpredictable song structures with massive dynamics, and pure, honest expression. As the songs veer into cleaner territory, however, the pervasive influence of Opeth, particularly of their Damnation style clean passages, is a bit too prominent to disregard. A more mature effort would mask this influence behind something more uniquely expressive, but the passages themselves are well written, well played, and still rather enjoyable. The uniqueness of the heavier sections also helps to balance this criticism, and despite these minor gripes – and the album’s abrupt ending – the overall presentation is superb.

The guitar tones are warm and clear, the bass is bright and present, the drums are not overpowering and well balanced, and the vocals sit perfectly no matter how they’re being delivered. The separation and interplay between the various layers is fantastic. The instrumental performances are all flawless and lively – both brothers truly excel at their instruments. The lead guitar playing, especially, is full of character and variety, and consistently hits home.

Despite its imperfections, Conquistador is absolutely one of my favorite things to come out this year. I don’t know that it’s for everyone, especially those who typically fixate heavily on over-produced vocalists, but it’s an honest and unique album filled with emotion and life that I know I’ll be listening to repeatedly for years to come. I can’t recommend it enough.

Recommended tracks: One Whisper, Surrender, Until My Will is Gone, Into The Spoke of Night
Recommended for fans of: The deranged spawn of Opeth, Alice in Chains, Bask, and Krallice
Final verdict: 8/10

Related links: Bandcamp | Spotify | Facebook | Instagram | Twitter | Metal-Archives page

Stone Healer is:
– Matt Kaminsky (drums)
– Dave Kaminsky (everything else)

The post Review: Stone Healer – Conquistador appeared first on The Progressive Subway.

Style: Doom/Melodeath (harsh vocals)
Review by: Matt
Country: United States (Connecticut)
Release date: 18-09-2020

Ah, October… The perfect time to listen to doom metal and like, eat a squash or something. I specifically gravitate towards the “pretty” stuff like Swallow the Sun or Draconian around this time of year, and Fires in the Distance have hit the spot in the same way with their debut.

From the first stately, melodic riff, I knew this would be a good one. The composition is immediately heavy and gripping, though probably too nice for purists. Shiny keyboard parts figure prominently into every song, and the guitars are more animated than usual, sometimes going into melodeath territory a la Insomnium. The melodic parts might be a little on the nose, but they’re always satisfying, so I’m on board with all this. Importantly, there’s just enough truly heavy riffs to ensure that the songs maintain some edge to them, also helped by the vocalist’s brutal roar.

Although I started out ready to give this album a 9 or so, my enthusiasm was dulled a bit from repetition. The template is awesome, but they come back to it an awful lot. Every song feels pretty much the same, with similar chord progressions and structures, and in particular they keep leaning really hard on that one sequencer patch from the beginning of the album. It’s cool the first time, but feels gimmicky the fourth time. My other minor gripes are that closer “Sundial” feels anticlimactic, just kind of appearing, riffing a bit and fading out suddenly… And some of the guitar solos have a nasty sharp vibrato. Nevertheless, this is a classy band, and one of the better albums of 2020. I expect great things in the future, especially if they can branch out a bit.

Recommended tracks: Reflections in the Ice, Chained to the Earth
Recommended for fans of: Swallow the Sun, Insomnium
Final verdict: 8/10

Related links: Bandcamp | Spotify | Facebook | Instagram | Metal-Archives page

Label: Prosthetic Records – Bandcamp | Website | Facebook

Fires in the Distance is:
– Craig Breitsprecher – Bass, Vocals
– Kyle Quintin – Drums
– Yegor Savonin – Guitars, Keyboards
– Kristian Grimaldi – Guitars, Vocals

The post Review: Fires in the Distance – Echoes from Deep November appeared first on The Progressive Subway.