Periphery - Juggernaut (2015)

Periphery's most massive undertaking to date, Juggernaut continues in the vein of Periphery II but on a larger scale. 

The album shows the band at the peak of their creativity. The Alpha side is the poppy side with such songs as Rainbow Gravity and 22 Faces delivering the band's trademark mix of brutality and catchiness. 

Omega on the other hand is a more diverse and experimental affair. To highlight some of this diversity: The extremely catchy sing-along ballad Priestess sits alongside the thrash-influenced Graveless and the prog epic Omega. 

I absolutely love Periphery II, but here one gets the clear sense that the band have pushed themselves to write their most compelling, bombastic material to date. One particular area of excellence (though many would disagree on this) is Spencer Sotelo's vocals. His performance on PII was already a dramatic improvement from the debut album, but here he's upped his game even more and is making the songs that much more dramatic. 

On the downside, the album does feel a bit repetitive with the same djent-chug present on basically every song. It's not a huge issue, but there will definitely have to be some significant experimentation on the band's next album.

Overall though, this is an extremely impressive album and my favorite from Periphery so far. 

P.S. Misha Mansoor should REALLY make an electronic album. The bits I've heard on Juggernaut and PII are phenomenal but there simply aren't enough of them.

9/10

The Contortionist - Language (2014)

Ladies and gents, I present to you 2014's best prog album. The addition to the band of Mike Lessard from Last Chance to Reason gave The Contortionist a chance to both reimagine and improve their sound. They started out as good progressive metalcore band on "Exoplanet," moving to a great band on "Intrinsic," as they incorporated more prog-rock elements. Here on "Language" they've once again upped their game and delivered something that prove them as a force to be reckoned with.

The thing that stuck out to me the most on my first was just how integrated and seamless this album feels. "Intrinsic" is a collection of great songs, but this album has a narrative quality that makes it all the more cohesive and impressive. But the single-best element here are the crystal clear, jaw-dropping vocal performance given by Lessard. The end of "Ebb and Flow," "Intuition"...I could go on and on about all the memorable vocal lines here.

The instrumentation is top-notch too. The futuristic, cosmic vibe is reminiscent of Cynic, Scale the Summit, and post-rock. The riffs can be a bit too staccato at times, but as this is a vocal-oriented album, they don't stray too far from the main plot. The play-off between heavy and light keeps things extremely dynamic, and it doesn't feel at all forced.  

"Language" is an incredible accomplishment for this young band. Much more than their previous two albums, this one emotionally resonates with me in a way that few prog metal albums have. With Lessard at the helm and the band's forward-thinking musical vision, things are looking very bright indeed for the next Contortionist album.

9.5/10

Devin Townsend - Z2 (2014)

Sky Blue: Side 1 of the immense Z2 is the spiritual successor to "Epicloud." But don't think of this as simply a continuation of that fantastic album (as much as I wouldn't mind an "Epicloud Pt.2"). Rather, it subtly blends elements from "Ocean Machine," "Ki," "Accelerated Evolution," "Terria," and even "Ghost." The result is a more subdued and moody affair compared to the exuberance and reckless abandon of "Epicloud."

Nevertheless, the album starts off with a bang on "Rejoice." Anneke von Giersbergen's ethereal, wordless melody is layered on top of a massive, driving groove. Devy's singing style vaguely reminds me of Chuck Billy from Testament.

The album starts a streak of amazing songs with "Fallout" and "Midnight Sun," the latter strongly reminding me of "Where We Belong" on "Epicloud."

The next song, "A New Reign" is one of the darkest, most melancholic songs Devy's written yet. For some reason the chorus reminds me of The Cure, at least vibe-wise. And the overall atmosphere of the song makes it an intense, emotional thrill-ride. It's a truly brilliant song and possibly my favorite on "Sky Blue."

Skip ahead to "Silent Militia" and you see another side of Devy that hearkens back to his SYL days. It has an infectious, industrial groove that wouldn't sound too out of place on a Rammstein record.

After this, things slow down considerably and we're treated to a very "Terria"-esque treat with "Rain City." It's a very subdued and beautiful track that winds down into a lengthy ambient passage, transitioning seamlessly into the "Ghost"-esque ballad "Forever." Side 1 of Z2 gives us one last rocker with "Before We Die." This track makes excellent use of the Universal Choir with an instantly memorable, anthemic chorus. Like "Rain City," it fades into ambience but not before Anneke delivers some downright unearthly vocals to send you off into the haunting "The Ones Who Love."

"Sky Blue" is possibly Devy's most mature and diverse metal album. It continues in the tradition of "Epicloud" and "Addicted" while refining it and taking it in some new directions. As opposed to the narrative fiction of "Dark Matters," this side gives us insight into Devy's personality and experiences. It's definitely my favorite part of Z2 and, if it were to be counted as a separate album (which it arguably could), is in my top 5 list of Devy albums.

9.5/10

Dark Matters: As the follow-up to "Ziltoid the Omniscient," "Dark Matters" showcases Devy's epic, over-the-top style while continuing the Ziltoid narrative.

To start off, I've honestly never been a big fan of Z1 other than a few tracks. Most of it is tedious, unmemorable, and too wedded to the story to really stand out.

7 years later, Devy has made a record worthy of the Ziltoid name, one whose music shines with or without the narrative (hence the bonus disc).

The serene, Anneke-driven "From Sleep Awake" segues into the "Deconstruction"-esque "Ziltoidian Empire" which sets the tone for the album with wacky choir vocals and an intricate prog section near the end.

And now we get to what I consider to be the most epic song on the album: "War Princess." Featuring the theatrical, sinister vocals of Dominique Lenore Persi from Stolen Babies, this is a bombastic behemoth of a tune that will you have you headbanging like there's no tomorrow. There's not a single second of this track I didn't love. It's probably my favorite on Z2.

"March of the Poozers" is another heavily "Decon"-influenced, circusy song with an infectious, zany chorus. It doesn't quite stick out like "War Princess" but it's quite fun and should translate well in a live setting.

The mostly spoken-word "Wandering Eye" is kind of a filler track that Devy should have either scrapped or incorporated that part of the story into a more musically-oriented track. There is a pretty good riff about a minute in but the potential is wasted as the narrative takes over.

Things pick back up with "Earth" which features one of the catchiest lines on Z2, sung by the incredibly talented Ms. Persi. It does feel a bit too long, but it's still quite enjoyable.

And things REALLY pick back up on "Ziltoid Goes Home" which sounds like a lost SYL track. The verses are very aggressive and thrashy, with Devy's vicious snarls being as powerful as they were back in the early days of his career. The chorus, however, is set in the "Sky Blue"/"Epicloud" style, making for a fascinating contrast.

"Dimension Z" and the Universal Choir round out Z2 with a lighters-in-the-air metal anthem. I won't tell you exactly how the track, and hence the entire album, ends but suffice it to say it'll leave you surprised and smiling.

As I said before, I like "Sky Blue" a lot more than "Dark Matters" but I think a lot of that is due to the narrative. The story is great of course, but it also interrupts the flow of the music in some places, at least for me. That said, I can't wait to listen to the bonus disc.

But as it stands, "Dark Matters" is everything that Z1 and, for that matter, "Deconstruction" should have been. The songs are intricately composed with a lot of moving parts, but are nevertheless highly accessible and engaging.

9/10

Overall: This is easily one of Devy's most ambitious, most diverse, and most accomplished albums to date. No matter which Devy album sits closest to your heart (unless it's "The Hummer"), you're gonna find something you enjoy. It's incredible to think that after so many albums, Devy still has so much creativity and so many new musical avenues to explore. While it's not a perfect album, Z2 is still phenomenal, containing many songs that I already consider to be some of the best in Devy's extensive repertoire. I can only imagine how all this will sound live...

Overall score: 9.5/10

 

Threshold - For the Journey (2014)

Easily one of my most anticipated albums of the year, prog metal band Threshold's new release "For the Journey" has managed to hit it out of the park once again.

2012's "March of Progress" was a resounding success for the band after the death of their previous vocalist and the return of original vocalist Damian Wilson. The album showcased their unparalleled knack for writing fun, heavy, catchy songs that still retain a distinct prog edge (mainly in the form of the keyboards).

"March of Progress" ended up being one of my top releases of 2012 and "For the Journey" nearly matches it. The new album is a bit more varied than MoP though I mean that in the sense that there's more emotionality and moodiness, not an actual change in musical style.

This change in lyrics and atmosphere from the political and social of MoP to the personal and introspective on FtJ can be seen in such dark numbers as "Unforgiven" and "Autumn Red." Similar emotionally charged moments include the gripping chorus to "Siren Sky," the poignant verses of "Lost in Your Memory" and the soaring guitar work of "The Box."

In particular, "The Box" is probably my favorite piece on the album.The solos are incredible and the song manages to be technical, showing off some of the band's most accomplished songwriting to date, yet it's also very accessible.

The only song that drags the album down a bit is "The Mystery Show." It's not bad per se, just rather average and a bit less memorable than the other stellar tracks on "For the Journey."

Overall, this is a excellent follow-up to the band's chef d'-oeuvre "March of Progress," even if it falls a tad short of matching the latter's brilliance. Given all the excellent riffs, sing-along choruses, and tight songwriting, it's unlikely that Threshold fans will feel disappointed.

9.5/10

While Heaven Wept - Suspended at Aphelion (2014)

While Heaven Wept are undoubtedly one of doom metal's best kept secrets. I first became attracted to their epic doom sound with the riveting "Vast Oceans Lachrymose." While Heaven Wept are known for their beautiful, melancholic atmosphere, heavy riffs, and mournful vocals.

On this album the band decided to make a concept album and from a lyrical and aesthetic standpoint they succeed. Musically though, "Suspended at Aphelion" leaves a bit to be desired.

It starts off well enough with the gorgeous classical piece "Introspectus" which sets the tone for the whole album. Then we come to my favorite track "Icarus and I" which doesn't have any doom to speak of, but is nonetheless epic and grandiose. The last few minutes of the song make you feel as if you're soaring through the heavens just as Icarus did.

Things slow down after that with "Ardor" which repeats the last few minutes of "Icarus and I." Reprises are a common musical device, but using one right after its parent track, rather than at the end, and not making it acoustic are not very good ideas. 

The next moment of excitement comes with track 5 "Indifference Turned Paralysis" which shows the band's proficiency with translating classical musical structures into metal. A power metal band could have easily written this piece (and that's not a bad thing at all considering I'm a fan of power metal).

The album's second truly great track is "Reminiscence of Strangers" which is a beautiful ballad which builds up into the kind of epic doom melody I was hoping to hear on this album.

There are three tracks under 2 minutes on this album and that is a pet peeve of mine. Unless it's punk or grindcore, I'd prefer albums have songs at least 2 minutes long. The band would have been much better off combining the time used for those three tracks into something better.

The long and short of it is that the truly epic moments I was hoping for are few and far between. Much of this album is repetitive and not all that interesting. While Heaven Wept are clearly a talented band and I'm a big fan of theirs. However, it seems like this time they couldn't focus that talent into something really cohesive and memorable like "Vast Oceans Lachrymose." Concept albums are fine as long as each song can shine on its own. Most of the songs here, unfortunately, cannot. That said, this is still a good album and it contains creative songwriting and a couple of really good tracks that make it worth coming back to.

7.5/10

(Special thanks to Nuclear Blast to providing me a promo copy.)

Scar Symmetry - The Singularity (Phase I - Neohumanity) (2014)

Like a lot of Scar Symmetry fans, I was massively disappointed when Christian Alvestam left after the monumental "Holographic Universe" album in 2007 (still my all-time favorite melodeath album). His growls and clean vocals are simply some of the best I've ever heard and I doubted the band could be any good after that or, indeed, that it could even continue. The next two releases, "Dark Matter Dimensions" and "The Unseen Empire," somewhat reassured me of the band's vitality by featuring choice cuts such as "Sculptor Void" and "The Anomaly." However, up until this album, the first three albums with Alvestam were still my go-to Scar Symmetry albums.

"Neohumanity" is undoubtedly the band's best release since "Holographic Universe." The songwriting is superb and the songs are all catchy and exciting. This is arguably the band's most "progressive" album with two songs that reach past the 8-minute mark. The lyrical content is really interesting (I've always loved the bands sci-fi/philosophical themes) and the album is simply more memorable as a whole than the previous two. The growls are actually better than Alvestam's and make a fantastic contrast with the improved clean vocals. The cleans are still not quite as good as Alvestam's perfect, polished crooning, but they're more than good enough to get the job done and don't detract from the songs' catchiness at all.

If I had to pick a favorite song it would probably be "Neohuman." It's ambitious, bold, and holds my attention throughout. The riffs, solos, and keyboards are all fantastic, especially the Haken-esque circus bit. It's just a fantastic piece overall.

The award for best chorus though would probably go to "Neuromancers." Something about the melody just makes it really stick out.

The album ends with the supremely epic "Technocalyptic Cybergeddon" which sounds like it could have fit on "Holographic Universe." The calm ending of the song is the perfect way to close out the album. 

Overall, I am extremely pleased with this record. I have a feeling that fans like myself who were lukewarm about the last two albums will really get into this one. I absolutely can't wait for Phases II and III. 

(Special thanks to Nuclear Blast Records for providing me an advanced copy.)

9.5/10

  

Mastodon - Once More Round the Sun (2014)

Mastodon, one of metal's most loved bands, created quite a stir with 2011's "The Hunter" which saw the band turn away from the technical songwriting and harsh vocals present on their previous four albums in favor of a catchy, almost traditional metal sound. On their latest offering, "Once More Round the Sun," Mastodon creates a sort of compromise between these two extremes. Each song is catchy, yet intricately arranged and visceral. Based around the band members' life experiences, this album is one that only Mastodon could have made. It retains their core psychedelic, progressive sound while maintaining a high degree of accessibility that is sure to rope in countless new acolytes.

Cuts such as "High Road" and "The Motherload" are as bombastic as one would expect from the band that made the epic "Crack the Skye." But while they are bombastic, the band's fundamental approach to songwriting has changed since their early days. Rather than write from a structural perspective, they let the songs flow naturally and stick closer to their 70's roots (i.e. Black Sabbath, Thin Lizzy etc.) For example, "High Road" assaults you with a Godzilla-esque riff while "The Motherload" works its way into your brain with its infectious (to put it mildly) chorus. "Halloween" is the technical tour-de-force of the album yet the overall vibe is much more lighthearted than the fiery aggressiveness of, say, "Remission"-era Mastodon. Perhaps the weakest point of the album is "Diamond in the Witch House" which, before I listened to it, had me excited to hear Scott Kelly's latest collaboration with the band, but left me disappointed. It's certainly not a bad track; it simply lacks the focus and precision of the album's other songs.

That minor criticism aside, "Once More Round the Sun" is the album that is sure to unite long-time fans and new fans alike (though fans who exclusively prefer "Remission" and "Leviathan"-era Mastodon are sure to be put-off.) It clearly proves that a band can sound more "commercial" while not sacrificing its core identity. Admittedly, I felt nervous that the Mastodon sound would be even more watered down after "The Hunter" which was enjoyable but nevertheless didn't sit quite right with me. However, my fears have been allayed and this album now stands just behind "Crack the Skye" as my favorite Mastodon album. If you're new to the band then this is the perfect album to get yourself acquainted with them and if you're already a fan who wasn't too keen on "The Hunter" then this will be a pleasant surprise. I for one couldn't have asked for any more.

9.5/10

 

Insomnium - Shadows of the Dying Sun (2014)

Finnish metal is renowned for its melancholic, melodic qualities and Insomnium are one of the best exemplars of these traits. Returning for their sixth album, these melodeath/doom masters aren't looking to re-invent the wheel, having basically settled on their sound starting with their third album, but they are making some minor tweaks. Perhaps the most noticeable tweak is the increased amount of clean vocals. Songs such as "Lose to Night" and "Promethean Song" feature some truly memorable clean choruses that might miff a few hardcore fans, but to my ears sounds like a natural progression of their sound. Another small way in which this album distinguishes itself from its predecessors is the use of black metal-esque blast-beats on "Black Heart Rebellion" and "The River," the latter of which displays an excellent tremolo-picked melody that could have been lifted right from a Woods of Desolation tune. "Ephemeral" is a bit of an odd experiment for the band as it's probably the most accessible song they've made yet, sounding like something modern In Flames might do (not that that's a bad thing by any means). One of my favorites on the album is the single "While We Sleep" which shows off some of the band's best songwriting skills with killer riffs, catchiness, and a soaring outro solo that you can't imagine the song doing without. My other favorite is "Revelation" which is probably the most 'atmospheric' track, especially given its dark, brooding, whispered vocals and beautiful melodies. Where I feel the album falls a bit flat is on "The River" and the title track which are both too long to keep my attention throughout. It also wouldn't have hurt for them to reach out into the musical universe and pull in some more influences (i.e. a folk song a la Agalloch or something doomy like Swallow the Sun) just to make for a more varied record. But those are still minor quibbles since this is probably my favorite Insomnium album since "Above the Weeping World." This album's formulaic approach can be forgiven for the facts that Insomnium are one of the most unique melodeath bands out there and, not least of all, that this is a great album. It might not hold up to the first three records, but it's something fans of the band won't be disappointed in.
8.75/10
(Special thanks to Century Media for providing me with an advance copy.)

Triptykon - Melana Chasmata (2014)

Coming on the heels of 2010's critically acclaimed "Eparistera Daimones," Triptykon, fronted by Tom G. Warrior of Hellhammer and Celtic Frost fame, have returned with another dark, brooding monster of an album in "Melana Chasmata." The oft-repeated phrase "don't judge a book by its cover" certainly doesn't apply to this album as the sick, twisted art of H.R. Giger perfectly matches the music. And the album doesn't waste any time revealing its sinister nature to the listener. Right from the opening of "Tree of Suffocating Souls" with its heavier-than-lead thrash attack and Warrior's trademark commanding grunts through the hauntingly beautiful "Waiting", "Melana Chasmata" is truly a beast of an album that hearkens back to the old days of Celtic Frost. The real genius of the album is its ability to seamlessly weave black, doom, thrash, death, heavy, and avant-garde metal into a singular, monolithic package that almost goes beyond genre classification. In that sense, Triptykon still hold firmly to the pattern established by Celtic Frost on such albums as "Morbid Tales" and "To Mega Therion" which influenced an incredibly wide range of bands and even spawned entire genres. The difference here is that Triptykon, especially on this album, have taken the classic Frost sound and expanded it into the territory of avant-garde with a heaping dose of dissonance and drawn-out, hypnotic tracks that make me think of such nightmarish things as Inferno by Dante. Indeed, the whole album is a trip through hell. "Altar of Deceit" is perhaps the heaviest track on the album, and perhaps the most violent part of the trip through hell, and features gargantuan riffs that sound like Black Sabbath on steroids. Another highlight for me is "In the Sleep of Death" which features some truly demented, almost psychopathic vocals that just plain creep me out (in a good way though). It is also worth mentioning bassist Vanja Slajh's beautiful, siren-esque singing which complements Warrior's fierce growls perfectly. And of course let's not forget Warrior's morbid lyrics which, as usual, fit the music like a glove. While I enjoy this album more than its predecessor, it's not perfect. "Black Snow" is probably my least favorite track here as it goes on for far too long than it should. Otherwise, "Melana Chasmata" is a fantastic achievement that shows not only shows Warrior/Triptykon's relevancy in the incredibly crowded world of modern metal, but also stands out as a uniquely dark and, in a very odd way, beautiful artistic statement.
9/10

(Special thanks to Century Media records for sending me a promo copy.)

Animals as Leaders - The Joy of Motion (2014)

Instrumental progressive giants Animals as Leaders have returned with their third offering and boy does it pack a wallop. After the excellent, yet slightly unsatisfying "Weightless" in 2011, "The Joy of Motion" sees the band less willing to experiment and more focused on delivering something both powerful and memorable. With 12 songs and no filler, it's an incredibly dense album that offers enough variety amongst the stellar musicianship to keep listeners happy. Most songs here are reminiscent of the band's earlier work, but a few have brand new elements such as the stomping grooves of "Physical Education" and the Latin flavor of "Para Mexer." But regardless of whether it's new sounds the band are incorporating or if they're relying on the same basic jazz fusion/prog metal admixture that brought them to fame in the first place, this is simply a phenomenal album. While it doesn't reach the heights of the debut, at least in my book, it does come pretty close. Once again AAL have proven their worth and set the bar astronomically high for other bands and musicians. If you haven't heard this masterpiece yet then it's about time for you to go over to Sumerian Records' official channel and prepare to have your jaw hit the floor.
9.5/10

 

Haken - The Mountain (2013)

As one of my most anticipated albums of 2013, "The Mountain" largely didn't disappoint. I say largely because Haken's previous album, "Visions" was so phenomenal that I just don't feel that this one lived up to it. Of course, this is still a fantastic album with some superb songwriting, riffs, and melodies. It's just that the only track that has really grabbed my attention so far is "Cockroach King." It's so wonderfully catchy and fun that it easily competes with anything off of "Visions." The rest though will take more time to grow on me. I can't quite say they knocked it out of the park, but Haken, one of the best prog metal bands around today, still made a damn solid album that is undeniably worthy of the praise it has received.
9/10

 

Protest the Hero - Volition (2013)

Alright folks, my hiatus is over. Time to start reviewing again.

After the rather disappointing "Kezia" and the band's split from their previous label, the future didn't look all that bright for Protest the Hero. Fortunately, they weren't about to slow down and, with the help of their fans, managed to put out what might be their most accessible record to date. Whereas their magnum opus "Fortress" blends technicality and catchiness in relatively equal proportions, "Volition" is seemingly geared towards expanding the band's fan base (as well as pleasing the many generous fans who donated to their fundraising campaign). And yet there's still plenty of technicality helped in no small part by the phenomenal drumming of Chris Adler from Lamb of God who stepped in when the band's previous drummer left. But I think mainly the band was simply interested in having fun while recording "Volition" and this is evident throughout the entire album. It's a bombastic, theatrical affair whose melodrama is concentrated in the voice and lyrics of Rody Walker who gives the best performance of his career here. I will admit that his vocals are a bit excessive at times and that some songs should have more instrumental parts, but that doesn't change my opinion that he sounds great on this album. Songs such as "A Life Embossed" and "Skies" are a testament not only to Rody's phenomenal pipes, but also to the band's knack for stringing along complicated rhythms and melodies into a harmonious, memorable whole. "Volition" may not be on the level of "Fortress" but it undoubtedly a wonderful return to form that gets better with each listen.

8.5/10

 

Dream Theater - Dream Theater (2013)

Progressive metal veterans Dream Theater have had a complex, at times frayed relationship with the larger metal community. Whether it's singer James LaBrie's oft maligned vocals or guitarist John Petrucci's "wankery," or even such controversial albums as "Systematic Chaos" metalheads, and even Dream Theater fans, have found no shortage of charges to level against the band.

The band's previous album, "A Dramatic Turn of Events," while hailed by many as a return to form after the mostly ill-received "Black Clouds and Silver Linings," nevertheless felt somewhat formulaic to a lot of fans, this reviewer included.

Fortunately, with their curiously self-titled opus they prove that not only is their still plenty of juice left in the creative gas tank, but also that they can pull together the musical elements they've worked so hard to develop over the years into a coherent, highly accessible album.

Lead single "The Enemy Inside" perfectly illustrates the overall feel and direction of the album. It's a heavy, technical track yet it's almost immediately catchy; it's just the kind of track to rope in new fans and simultaneously leave the faithful satisfied.

"The Looking Glass" continues this theme, but with an interesting twist. It's the most Rush-sounding the band have ever sounded and it's hands down the most accessible track on the record.

Dream Theater throw us another curveball with "The Enigma Machine," the band's first instrumental since 2002's "Stream of Consciousness" off "Train of Thought." Petrucci provides a highly memorable and headbangable riff to provide the piece's backbone, while he and Jordan fill in the gaps with some blistering alternating solos and a haunting interlude.

Things then slow down a bit to provide some breathing room with two less intense, though no less impressive, songs "The Bigger Picture" and "Behind the Veil," the latter of which is heavily inspired by Megadeth. In fact, parts of it sound like they were taken straight from Rust in Peace or Countdown to Extinction.

Keen to continue lavishing praise upon Rush, Dream Theater then bust out "Surrender to Reason" which starts off with an intro remarkably similar to that of "The Camera Eye" off "Moving Pictures."

The eighth track "Along for the Ride" is the calm before the musical storm. Ballad-wise, it's the best thing the band have written in a long time. I assure you, it won't take you very long to get the chorus stuck like superglue in your head.

Just as you were taking a breather, "Illumination Theory" arrives to sweep you off your feet with a tour de force of technicality, emotion, and just plain good songwriting. It's a 22+ behemoth of a song, the longest they've done since "A Change of Seasons." It's Dream Theater at their most bombastic, ambitious, and proggiest. Some metalheads will undoubtedly avoid this track like the plague while others, especially prog fans, will probably eat it up like manna from heaven.

Though this album may still fail to convince many doubters, Dream Theater have a number of things going for them here that they didn't before. One, as I mentioned, is their newfound knack for accessibility - always a plus when it comes to expanding the fanbase. Another is drummer Mike Mangini finally getting an opportunity to show off the goods with some tasty, original drum parts (Petrucci wrote Mangini's drumming on "A Dramatic Turn of Events). This album definitively cements Mangini's place in the band after previous drummer Mike Portnoy's departure in 2010.

"Dream Theater" may not be revolutionary enough to compare to, say, the legendary "Scenes from a Memory," but it's the most solid thing they've done in years and a major highlight for both 2013 and prog metal overall.

9.5/10

James LaBrie - Impermanent Resonance (2013)

If the only new melodeath release this year was this album, it would still be landmark year for melodeath. If you haven't gotten into James LaBrie in his Dream Theater role for whatever reason then I strongly suggest you listen to this. The choruses are so catchy and the riffs are excellent not to mention the modern metal production that really complements the musical style. And the growled vocals fit perfectly with LaBrie's soaring vocal style. If you're already a fan of LaBrie in Dream Theater then I highly doubt you won't enjoy this. And if you're a fan of Soilwork and Amaranthe then I can virtually guarantee you'll enjoy this. All in all, I can say this is my favorite of LaBrie's solo albums and is my favorite melodeath album of 2013 besides the new one from Amon Amarth.
9.5/10 

Misery Signals - Absent Light (2013)

After a rather lengthy wait, one of metalcore's most innovative bands have returned to present another offering filled with ass-kicking, heavy riffs, impressive technicality, and fantastic drumming. Sound-wise, there's not much different compared to the last album but that's perfectly fine because I think any metal band would be proud to have an album as well-written and engaging as Absent Light is. Everything from the grooves to the clean parts to the vocals is top-notch on this album. All the members of the band are incredibly talented musicians and it's clear they took full advantage of their skills here. Besides One of Us is the Killer, this is the best metalcore release I've heard this year. If you have a buddy or family member who's into prog but averse to "core" music then this is definitely the right album to introduce to him/her.
9.5/10

Shade Empire - Omega Arcane (2013)

Finland is known in the metal world for its melodic metal sensibilities, producing such heavyweights as Insomnium, Swallow the Sun, and Amorphis. While each band has is amazing in its own right, none of them have the sheer ambition and audacity to produce something this epic. And I do mean epic. Shade Empire take all the best elements of their influences including Dimmu Borgir, Septic Flesh, Emperor, Behemoth, Opeth, and Fleshgod Apocalypse, and throw them in a blender with a dash of doom and a heap of steroids. What results is a dark masterpiece of extreme metal with some truly awe-inspiring classical orchestration, gargantuan riffs, jaw-dropping drumming, moving solos, and gorgeous acoustic parts. Some of the parts are absolutely mind-bending in their grandiosity and depth. How this band even wrote these insane songs, I haven't the foggiest idea. What I can say is that this is one of the best albums I've heard this year and that you should hold on to your jaw when you're listening to this.
10/10

Pomegranate Tiger - Entities (2013)

Previously unbeknownst to me, Scale the Summit already had some competition this year from this excellent upstart instrumental band out of Canada. While the two bands are very similar in many respects, Pomegranate Tiger focus more on the riffs and "metalness" of their music as opposed to StS's emphasis on melody and atmosphere. And I must say, PT do write some awesome riffs; some of them are even quite groovy. The songs here are incredibly well-constructed and nothing feels out of place. There's even a nice bit of atmosphere in the form of three or four acoustic tracks. I'm really impressed by this album though it could have been even stronger if they had cut out one or two songs because it feels a tad long to me. I can't say Entities matches up to The Migration, but it comes close and definitely warrants many repeated listens. This band quite clearly has loads of potential and I'm excited to see what they do next.
9/10

 

In Vain - Aenigma (2013)

One of the most overlooked prog metal albums of the year, In Vain's Aenigma is an epic, dense album that takes some of the best elements of Opeth, Leprous, and even Gojira and blends them together into a coherent and immensely satisfying whole. If you're looking for prog technicality, then look elsewhere because this album focuses on melody and atmosphere with little in the way of complicated time changes and the like. Much like Devin Townsend's style, the music is straightforward, punchy, yet very uplifting and beautiful at the same time. Also like Devin Townsend (and Leprous), the choruses throughout are infectiously good and serve as the pivot of the songs. The production is excellent and does a great job at establishing the wall-of-sound effect necessary for epic music such as this. Finally, the riffs, vocals and melodies are all excellent and nicely blend death and black elements together. Aenigma is one underground gem you shouldn't miss out.
9.5/10

 

Deeds of Flesh - Portals to Canaan (2013)

Along with last year's Incurso by Spawn of Possession, this album is one of the most mind-meltingly technical and brutal things I've ever heard. The riffs and blast beats just pummel you almost non-stop like a swarm of arrows piercing you one after another. Everything is done with such insane mathematical precision that you wonder how this band can possibly remember how to play these songs live much less write them in the first place. The vocals are just perfect for this type of music and the lyrics are cool (no gore, just awesome sci-fi themes). One downside of this album, and this goes for a lot of tech death, is that it does get kind of samey and doesn't always hold your attention. Of course, that's to be expected when we're dealing with super-complex music like this so many repeated listens are required just to even start to wrap your head around this behemoth. Otherwise, this is a true feat of technical mastery that will leave you out of breath and craving more.
9/10

 

Orphaned Land - All is One (2013)

After 2010's spectacular Orwarrior, my expectations for Orphaned Land's fifth album were incredibly high, and I'm happy to say that by and large they have been met. All is One goes in a somewhat different direction than Orwarrior in terms of scaling back the heaviness and growls and relying heavily on orchestration. The orchestration, for me, is the real highlight of this album as it's done so beautifully and forms such an integral part of the music that you couldn't imagine it not being there. It's a bit disappointing that Shlomit Levi isn't featured on this album, but the female singer who is present here as well as the choir are quite good in their own way. As for the songs, the title track shows the band band at their most progressive and is one of my favorites from the album. "Brother" is a gorgeous, emotional ballad that is one of the best songs they've ever written. "Children," the epic album closer, is another highlight of the album and seems to summarize everything that came before it. In all, even though this album doesn't quite live up to Orwarrior or Mabool, it's still an amazing accomplishment for the band and demonstrates yet again that Orphaned Land are the cream of the crop when it comes to Middle Eastern metal. All is One is their most emotional album yet and if you're already a fan or are just gettting into the band then you won't be disappointed.
9.25/10