HILLWARD

HILLWARD is the Canadian side project of progressive metal group SOUTHERN CROSS, starting their career in 2015, adding musical themes from melodic prog to the first group. I associate them with OSI, Tesseract, Tool, Pain of Salvation, Leprous, Haken, Porcupine Tree see Dream Theater. The prominent place of spatial keyboards and catchy djent riffs give the signature as well as attractive melancholic breaks; the intensity often increases and explodes musically in an orgasmic way.

"Fire and Brimstone" with an aerial spatial entry followed by the sound that will be that of the album: a distant synth printing the rhythm, an aggressive guitar with a djent riff and a metronomic drums all sprinkled with the plaintive voice of David; its catchy, nervous then synthetic modern break on Teramaze, Tesseract or Haken. "Vapor Trails" on an intro with Antoine's percussions, a soft, ambient track which rises, throbbing, hypnotic and atmospheric, a distortion in space and metronomic time. "Deafen the Void" returns to the djent sound of the beginning, it arises with a melodious synth giving in the vibration; a repetitive riff then the enjoyable jerky, divine solo. "Waiting" denotes with Jean-François bass as a guide for a title going from slow melodic to strong and intense rhythm; progressive hard track with a crystalline end.

"A" hypnotic title where the melody is in order, more meditative pop; Alexandre's solo is worth the trip, fruity, full, meeting between Gilmour and Townsend and this sound leaves in a mishmash of notes to reverse the curvature of time. "Broadcast Interruption" like the musical interlude, spleen, intimate air, encounter between voice, piano, lament on cello, beauty of the moment. "Amidst the Sun and Stars" resumes with this thunderous sound, coming out of a 320 volt outlet; the air settles with airy keyboards, the rhythm guitar then the combination of the two soporific, numbing. "Tainted Eyes" and the title that kills: everything is concentrated and well placed; it rises calmly, the soft voice a little opposite to the instruments; the metallic station wagon, Alexandre's guitar take over starting on an aerial dreamlike sequence remember that I warned you, then a cinema sound, from the vintage basic synth coupled to André-Philippe's modern keyboard make this end piece a strong hymn that forces you to get up and put the replay.

HILLWARD hits hard by offering this boosted opus, avant-garde crossover with keyboards and guitars. Young metal, progressive through the musical drifts, djent through the backbone. I've read that the voice is the weakest link in the band, I don't think so on the contrary David allowing the songs to keep a melodic pop-rock appeal; an album that breaks new ground in this year, that's a plus and it's good. One Progressive Rock/Metal-djent synthétic very well made .

Now here we are getting into the sophomore album recorded by this band which is hailing from Quebec, Canada. They once started as a standard trio, emerging out of the forerunner band Southern Cross, consisting of the core trouper David Lizotte (guitar, vocals), Jean-Francois Boudreault (bass) and drummer Antoine Guertin. After the debut album release though the line up would be enhanced by another guitarist plus a keyboarder. And so dual guitar work rules, the keys respectively electronics are still playing a minor role anyhow. This album marks a really big affair for those who are keen on heavy progressive rock in general, let's say in the vein of Porcupine Tree, just for the record.

A proper example for a steady alternation between heavy and atmospheric parts. Almost everything sounds improved when daring to compare with the former band, especially the vocals. Yes, the HILLWARD crew operates with heart and mind, though forever lost in the 'System', for what I understand the lyrics. 'The ones who should be the last to die, and those with all that money cannot buy' - that is meant like drawing a murky future overall I would say. And the cover image somehow may express a weird relationship of nature and modern civilisation. Somewhat reflecting the current situation, food for thought in any case.

At the very start you will be acquainted with David Lizotte's sensitive singing voice on Foster The River. Also focussed on acoustic guitar this is a rather superb entry! There are some other haunting compositions to explore, which do remind of the UK band Mansun a bit, for example the lovely Fragile. Others are more deriving from the heavier side predominantly, for example Long Way Down including some proper metal riffs. Or Hollow which is running with beautiful guitars and some headbanging qualities.

The couple Life In Serigraph and Flat Light is prospering with a gripping flow and then - 'you make me feel alive' - the refrain of my current favourite Haven seems to express some confidence anyhow. A top notch album, provided with a compelling atmosphere all over. Other bands which come into mind close in style are Aussie band Opus Of A Machine or Non Newtonian Man from Italy. Also, I might not be surprised if there would be some staff interweavement with another Quebec band named Inner Odyssey.