NIGHT ECHOES

Australian prog rockers Hemina have released in 2019 their fourth album "Night Echoes" and it is a welcome return to the heavier sound of their back catalogue. Previous releases are "Synthetic" 2011, "Nebulae" 2014, and "Venus" 2016, all of which are excellent examples of Heavy Prog at its finest. The Australian quartet consist of Douglas Skene, Vocals, Guitars and Keyboards; Mitch Coull, Guitars and Vocals; Jessica Martin, Bass and Vocals; and Nathan McMahon, Drums, Percussion and Vocals. Their influences are as diverse as the music, but you can expect sounds along the vein of Pain of Salvation, and Haken. Hemina have toured with an incredible array of prog giants such as Uriah Heep, Kamelot, Apocalyptica, Queensryche, and will be opening for Haken. They have shared the stage with Australian legends Caligula's Horse, Breaking Orbit and Divine Ascension, among others.

Hemina prefer to let their music tell the story but they present a conceptual framework and all their albums bring forth a narrative that grabs the listener and seems to unfold on subsequent listens like an existential adventure. The main protagonists differ with each album and are nameless, perhaps due to the fact that they may represent us as we delve into the soundscape, and we can relate to certain aspects of the characters in some way. The characters undertake some personal trauma and we come along with them on the journey from darkness to light. From isolation to inner conflict, the characters are prisoners and victims of abuse, but they are given a mode of escape with the hope of a new accepting family. The Female protagonist on "Nebulae" and "Venus" is indeed the wife of the central character from "Synthetic", so there is a definite connection to all the albums. "Night Echoes" continues to echo these themes. It is ten years following the tragic suicide of the protagonist's father, and he is finding it difficult to cope with the past, lapsing into a manic depressive state, and a loss of identity. On the borderlands of a breakdown, the adolescent struggles with self esteem and the closure he desires and need to break away from this prison of guilt seems further and further out of reach. These are heavy dark themes but the hope for redemption or reconciliation is always there, but will it be too late for the protagonist or will they find an escape from this crisis?

Out of the gates, The Only Way introduces a melodic metal guitar and some mesmirising vocals with clean harmonies that sweep us along at the beginning of the journey. This is followed by a fractured riff on What's The Catch? "Are you waiting?" is the question asked. A blistering lead break augments the atmosphere and soars into a high register till it cuts out suddenly. We Will follows with a spacey synthwave sound till it is joined by a crunching riff and aggressive vocals. There are some death metal growls on this too to enhance the aggression, sounding like Devin Townsend. The guitars are choppy and the rhythm breaks and jolts. A definite highlight on the album, We Will has some intense time sig changes and a superb melody that kicks it along.

One Short is a genuine oddity, with a blues flavour intro, until it unleashes into a metal guitar riff. I really like the vocals as you can hear the words and it helps to grab hold of the conceptual story; "Most folks I know like to try before they buy, its just a fact of life." Guitarist Mitch Coull states, "The standout tracks... are ones such as The Only Way, which blends that 90's rock sound within the progressions and One Short with that pure soul emphasis. One might say it's a departure from the sounds of "Venus" but, at the very essence of it all, the grooving metal is still there."

Flat opens with sparse acoustic vibrations and a soft soulful vocal. This is a gentle breeze after the more intense blasts of metal. Percussion joins with bass and synth washes to generate a calming atmosphere. It finally unloads into heavier distorted guitars and fast double kick drums, with screeching vocals and a scorching lead break. For me this is another highlight on the album, featuring some powerhouse vocals and a complex rhythmic structure.

Everything Unsaid is an acoustic piece with strong harmonies, short and to the point. Nostalgia soon follows, with atmospheric keys and then a catchy riff; the vocals here remind me of the Dream Theater style. The protagonist reminisces about the good times in the past; "I have been guilty of living in the past" to the simpler times. But will that be enough to get him out of the present situation? It is unlikely but the hope remains. There are some great drum flourishes before a lead break takes over, then some bass soloing; a genuine instrumental workout by Hemina in full flight.

In Technicolour opens with a creepy music box and what sounds like a vinyl record playing in its end groove. A strong metal guitar riff smashes through and some 80s retro synth lines. Then it locks into a broken rhythm and a lead guitar intro. The contemplative vocals are again clean and speak of the break in the father and son connection, and the need for closure "If I could only just say goodbye". The outro is beautiful harmonies over acoustics, "In a world full of colour, a boy without a father." Another outstanding track from Hemina is the result.

Flicker closes the album with a melodic metal sound, and a syncopated rhythm that switches time signatures throughout, perhaps one of the more complex songs on offer. It is always nice to hear Jessica's vocals too as she adds so much depth to the harmonies. More great lead breaks from Skene are woven into the tapestry, and it changes mood from urgent to emotionally spent, echoing the mood swings of the protagonist who is trying to come to terms with his identity crisis. The vocals are incredible, with hurt cries of mercy and soulful pleadings that bring the album to an end.

"Night Echoes" is another solid release from Hemina and the songs grow on you with each listen. The musicianship is excellent and there are some outstanding tracks aforementioned. There are no lengthy suites this time around and the album is less intricate or complex in structure, and it a shorter album than their lengthy opus, "Venus". Perhaps that makes this album more accessible for the average rock fan which may not be a bad thing, depending on how you like your prog served up. However I longed for more of the instrumental workouts and progressive wizardry of masterful "Venus" and "Nebulae". This album comes recommended for those who enjoy melodic prog metal, and for those who love to delve headlong into concept albums. I look forward to further albums from this great Australian Prog metal band, Hemina.

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