KATHARSI

Clocking in at just under 55 minutes, 'Katharsi' by Deep Limbic System, offers an immersive journey that delves into the intricacies of human existence, routine, emotions, mortality, and love. It feels to me like this could be a conceptual album, (though I am not sure) just by the fact that the first two tracks blend as a whole song, and the album in general, fluctuates very smoothly between songs.

Days

Opening with a gentle and melancholic acoustic guitar strumming and ethereal erhu (very well executed by guest musician Nate Miller), "Days" sets a contemplative tone. Its brevity feels purposeful, like the first breath before plunging into deeper waters. The recurring theme of fleeting time and routine is subtly introduced here. It even touches depression and angst, contrasting the dark lyrics with the beautiful melodious music.

Regression

A quintessential progressive track, "Regression" unfolds with a space rock slow guitar solo and keyboard intro sustained by a bass line that shifts the tone to then break into a steady beat that reminds of the greater days of such acts as Pink Floyd or Eloy. The lyrics explore a longing nature, again, the airy deep voice provides a dark atmosphere with mesmerizing phrasings. The way this track wraps up it's simply tasteful; a climatic heavy riff that perpetuates as more layers of synths and strings build up behind. Somehow this track made me think of Porcupine Tree and Riverside.

Herd

It's one of the album's most accessible yet impactful pieces. The band changes the mood, and keeps you interested, as the song opens with an arpeggio that feels somehow hopeful, and then, a glorious melodic solo hits you right in. As I said before, the vibe on this one is more friendly, but do not fall for it, as if you listen closely, intricates arrangements will appear, there is a section with a slap bass and drum groove that I wasn't expecting, yet I loved! I think "Herd" critiques conformity, idealism and societal pressures.

The Chaotic Frenzy of the Mind

True to its title, this track is a whirlwind of dissonant chords, frenetic drumming, and abrupt shifts in mood. The structure is odd, so much is happening, but I did not mind this chaos. I am not a metal guy myself, yet I can say I truly liked the riff usage that is back here, they do it with such taste, complemented by keyboard atmospheres that really creates a sense of ambience and fullness that is rewarding. The intricate instrumentation shines here, showcasing the band's technical prowess.

Descendants

Ok, what's with this Latin-American intro and why is so short? I need more of it! This album just keeps adding the unexpected. This is a reflective piece that contrasts beautifully with its predecessor, "Descendants" offers a haunting exploration of legacy and mortality, one of the lines that stuck in my mind is "Why do we miss what we've never had?". The delicate interplay of acoustic and electric elements gives it a meditative quality, it has a touching and soulful vocal performance anchoring its emotional core.

Oblation

A restrained and introspective track, structured in the more traditional verse-chorus way, "Oblation" serves as a lament or offering. The minimalist arrangement, driven by haunting piano and mournful strings, feels like a moment of surrender. There is sax in here! The band shows us they just can go from the proggier, to the heaviest, to the mellowest, with no restrictions, and all will sound like Deep Limbic System, I am starting to hear that distinctive style of having no style, and I do not mean it as a bad thing at all.

Umbral

The album's longest track is also its most ambitious. "Umbral" is a journey through light and shadow, exploring the thresholds of life and death (Umbral is spanish for Threshold). Its layered instrumentation and shifting tempos evoke a sense of crossing into the unknown. The climactic crescendo towards the end is cathartic and grandiose. This is the highlight of the album; the outro section reminds me of Anglagard or Anekdoten.

Ωmega

Another prog epic to close the album with a reflective yet triumphant note, "Ωmega" (With "Ω" last letter of the greek alphabet) feels like a resolution to the themes introduced earlier. The quiet piano and guitar solo at the beginning, are taking me into Gilmour territory, the guitar solos on this one are top notch. Lyrics are evidently talking about acceptance of death and closure. The track falls into a long acoustic middle section very well crafted, that easily evokes Opeth, or early 70's Genesis? Either way, it is beautiful! The last note of the voice blends in with a sublime sax solo, this could not end any better. A fading chord leaves me in contemplative silence.

Deep Limbic System has crafted 'Katharsi' as a cohesive work that demands to be experienced as a whole, it's one of those albums that grow with each listen. Musically, the band excels in blending progressive rock's traditional complexity with modern sensibilities. The production is pristine, fans of classic progressive rock acts like King Crimson, Genesis, Pink Foyd, or modern innovators like Steven Wilson, Opeth, or Riverside will find much to admire here. However, 'Katharsi' stands firmly on its own as a modern masterpiece, solidifying Deep Limbic System's place in contemporary prog rock.

I haven't actively listened to prog-metal (or heavy prog) for the last two decades - after being a fan, I just lost interest in the genre which passed its best times and became too predictable and often boring. A few days ago I found in my mail Mexicans Deep Limbic System's new album "Kathatrsi" and gave them a chance. I wasn't disappointed at all.

"Katharsi" is a really good album - a quarter of a century ago I would say it's a great album. The album's music, based on heavy keys, has all the good heavy prog album needs - guitar soloing, strong vocals, quite complex songs' rhythmic structures, changing tempos and tuneful songs. Myriads of influences, from Uriah Heep organ passages to Pink Floyd "space" sound, from King Diamond romanticized demonic atmosphere to Dream Theater classics - all are presented here, with taste and respect, without direct citation or plagiarizing. All album's songs are different, there is a musical development during the album's run. The music is well arranged and the recording sound is of good quality. And - what is more important - the whole album builds that specific "rock album's" atmosphere, which was quite usual for great albums from the past, but are very much missed nowadays.

I would be really glad to hear some innovations of a great old genre, or more original ideas in the album's music, but hey - I know pretty well that evolution has its lovers and haters. "Katharsi" is a great work for conservative listeners, and fans of classic heavy prog sound, and I am not sure how many such new quality albums are around nowadays.

1.Days on PINK FLOYD, NO-MAN, NO SOUND, on soft Mr BUNGLE, a weird intro that smells of experimentation 2.Regression that results from it, the Floydian air with the guitar and the keyboard, yes, the riff on a heavy tendency with the monolithic synth, it changes, the hard riff in break imposing the ambient, where are we going? bright bells in the distance, a zest of melancholy from Anathema, yes ANATHEMA first wave, well I ask myself it becomes interesting; a little of the river air of ORPHANED LAND seen recently, it calls out to me, the vocal screamed without going to the growl, it seduces me; the jazzy drift with the piano and the musical saw or the tawny owl in action, the riff that comes back, amazed by my deep limbic system 3.Herd arrives, continues to confuse with an alternative air weaving towards a progressive refrain, I look for PORCUPINE TREE and ANATHEMA yes between the two at their beginnings; a singular and unique sound that hurtles down the prog slope as if nothing had happened for this catchy melody 4.The Chaotic Frenzy of the Mind with the piano-acoustic guitar arpeggio, proven wandering ... A dull riff swells and brings the contained prog metal sound with the typical frame, memory of LIGHT DAMAGE for a time, the haunting guitar, the sampled choirs and the keyboard, velvety and sad at the same time, always on an electrified pad; go bass and guitar spleen on some vitaminized OPETH now, a zest of psyche. The vocal that drags, the airy pad, between the 70s and the 2030s for the sound; here we go on the progressive wanderings of OPETH again, it makes me want to write a review of it!

5. Descendants on a melancholic piece, a languid nursery rhyme that is easy to listen to, juggling on musical bliss and giving Sergio once again the opportunity to check his vocal presence between singing and haunting phrasing 6. Oblation continues in the same vein, the least of this album that is starting to lack a little consistency; as a concept album it would be better 7. Umbral cinematic psychedelic intro, progression on the redundant air, I persist on this album to listen to in one go and playing with targeted and desired repetitive atmospheres; we are getting closer to the sound of RIVERSIDE. The mid-course break with a jazzy-bluesy-rock rapprochement that PORCUPINE TREE created at the beginning, with the intoxicating and slightly hypnotic whirling voices; the flute brings back to the Opethian vintage with the Aldi Meolesque Spleen guitar, a joy this title 8.Ωmega crystalline intro of a 'Amicalement Votre', doubled by a solemn guitar arpeggio, here is an intro of the aerial BARCLAY JAMES HARVEST, well the mid-tempo ballad launches and comes to collide against the banks of progressive rock, the one that uses the reminiscences of yesteryear and incorporates them on this divine piece; the guitar solo Spleen just what it takes, the hit of Jose syncopated enough to make the ear prick up; the acoustic break wanders on this in-between before the heavy-neo-progressive variation of a new genre, between old and new, between memory and experience with again the languorous singing of Sergio which seduced me from this haunting turmoil; the finale with sax from the time of SUPERTRAMP, a little jazzy and the final arpeggio coming to close this intimate but touching album.

A Modern Prog Gem

From the very first listen, Katharsi by Deep Limbic System feels like a work that's not trying to win you over instantly — it wants to wrap itself around you. There's something in its approach that avoids easy labels: yes, it's modern progressive rock, but packed with subtle nuances that set it apart in an already demanding genre. Comparisons to bands like Porcupine Tree, Riverside, or Opeth aren't thrown around lightly, but rather than copying them, they take that emotional depth and reshape it into their own distinct voice — one that definitely deserves to be heard.

The production is pristine — crystal clear even in the heaviest moments. Every instrument finds its space, which is key in an album that moves between heavy, biting riffs, acoustic passages, jazzy moods, and even saxophone. There's no filler, no show-offy playing — just a clear intention to communicate emotion with intelligence and control. Katharsi is full of contrasts, but everything feels carefully placed.

Sergio Sunga's voice has a unique tone — hard to compare, but it fits the sonic aesthetic of the album perfectly. It doesn't try to dominate; it blends with the music, adding more character than spotlight. It's the kind of performance that elevates the whole without pulling focus, something to appreciate in a project that feels so collective.

Composition-wise, the guitar work is exceptional. From ambient textures to well-contained rhythmic outbursts, there's a deep understanding of the modern prog language. The song structures avoid predictability, which keeps things engaging even after multiple plays. In fact, Katharsi is one of those albums that grows with time — the more you listen, the more details you notice, the more emotional layers surface.

The artwork — beautiful and unsettling at once — is the perfect visual reflection of what's inside: introspection, tension, and beauty within darkness. While every track has its merit, it would be wrong not to highlight Umbral and the closing song Omega. Both are sonic monuments that capture everything this band does right: restrained emotion, immersive dynamics, and a use of silence that's just as eloquent as the use of noise.

It's rare to see a band of this caliber come out of a place where progressive rock doesn't usually make headlines: Mexico. Katharsi isn't just a great album — for me, it's a true discovery.

Music: ★★★★

Lyrics: ★★★★

Execution: ★★★★

Emotion: ★★★★★

Production: ★★★★

Artwork: ★★★★★

Average: ★★★★

This is great!

Have to admit that I was positively surprised when I knew about this release, because I did not follow Deep Limbic System footsteps after the release of their wonderful extended version of 'The Embryo' back in 2016, in fact, I thought they had vanished. But fortunately, the news came to me thanks to the same Sergio Sunga (vocals and guitar), who kindly let me know about this record and invited me to listen to it.

My excitement was confirmed when I first listened to this new baby entitled 'Katharsi', released in December 2024; one of my first thoughts was "oh, it was worth the wait", and I still think it. This five-piece band that comes from the north of Mexico has delivered a mature, gentle, well-though proggy album that could be liked by any prog rock lover due to its exquisite blend of sounds and influences that can be appreciated in an eight-track journey that lasts 55 minutes.

The eclecticism is shown since the very beginning. It kicks-off with the introductory 'Days', a short dreamy song which has a very gentle sound that all of a sudden vanishes and open the gates for the entrance of 'Regression', whose first moments are atmospheric with a Floyd-like guitar, then it changes and becomes a bit heavier, faster, in the vein of neo prog thanks to that emphatic use of keyboards. After two minutes it slows down again, the bass lines are soft but noticeable at background, the atmospheres, the guitar, the vocals are emotional and at minute four they explode, creating an amazing solid, strong, emotive sound. Reminding me of a lot of acts such as Riverside, Lebowski, Amarok, to name a few. Deep Limbic System are great on changes, that's not an easy task.

'Herd' opens with an arpeggio, seconds later an emotional guitar solo changes the mood and a new rhythm is being built-up. The sound here is quite gentle, easy to dig and enjoy, I would say this might even be pop-prog, which is nothing peyorative or wrong, actually it speaks good about how open they are to explore their music boundaries. From Satellite to Anathema, from Cast to Porcupine Tree, go figure.

One of the highlights comes definitively with 'The Chaotic Frenzy of the Mind', a creative 8-minute gem that starts acoustically with guitar and piano, and becomes heavier, metal-like after the first minute, creating a mighty atmosphere where you may shake your head for a while. They share a great instrumental passage very in the vein of Steven Wilson's solo efforts, and then the vocal enters in a soft, charming way. When you think it will keep calm, suddenly the volume and intensity increases, implementing keyboard power and some Latin percussion that of course, add new nuances to an already richness of sounds. Through the eight minutes the band dared to make considerable changes, but all of them wonderfully flow, none of them seem to be forced, which speaks quite positive about their maturity as composers and, of course, performers. Shoutout to Carlos Barcenas and the amazing endless atmospheres he creates with keyboards. The cherry in the pie comes with the extraordinary, emotional guitar solo made by Leonel Huerta in the final minute. An amazing track, to be honest.

I am not sure if it was intended, I think it was, but the introduction of 'Descendants' is very Mexican, haha, I immediately thought about our folk roots. Seconds later a new structure begins, that soft and kind but melancholic sound begins, reminding me again of Riverside, though I believe Sergio Sunga's voice has a tone similar to Mariusz Duda's. The emotional side of prog is a consistent in Deep Limbic System's sound, and we can confirm it with this track.

'Oblation' is another soft but very good track in which they deliver a charm that is easy to embrace in spite of the dark lyrics, the mourn, the nostalgy, or the pain that the lyrics might suggest. A bit of Opeth is taken here, and in moments I remembered another Mexican band named Enso, who have released some singles and I think will release an EP in this 2025. The main surprise of this track comes at 3:30 when a saxophone by guest musician Juani Varela appears and wonderfully adds a brand new mood and atmosphere, enriching the experience.

The epic comes next with 'Umbral', colorful keyboard textures, then drums, bass lines and guitar, creating a vibe that reminds me once again to Lebowski, and when vocals enter, to Riverside, both Polish bands, by the way; and while the minutes pass and the emotions flow, I perceive some Gazpacho on it. Important to say that I mention those bands only as references, DLS musical palette is quite colorful, which is easy for us, the listeners, to find resemblances from music we've previously heard. It is a great prog rock journey full of excellent musicianship, mood and time changes and, of course, emotions. The balance of lyrics and instrumental passages is also worth mentioning here. The ending is amazing, heartfelt guitar solo, then heavy unison sound, very emotional.

The album finishes with 'Ωmega' whose first moments are nostalgic, ballad-like, where piano, bass and guitar appear softly, reminding me a bit of Pink Floyd's 'The Division Bell'; after a minute, acoustic guitar and Sunga's voice appear along with the always great keyboard textures; a brief change, a guitar solo, an increase of intensity, a display of emotions. There's also a nice change of rhythm and time signature marked by José Armengol's drumming that lasts for a minute, until it vanishes and another soft and pastoral instrumental passage begins and takes over for a couple of minutes, then the neo-prog sound returns for a little bit, then they make like a pause and the explosion comes at minute 7 with the amazing keyboard playing. As you can imagine, the last minutes are very emotional, very human, because Deep Limbic System's music can hit us anytime. Here the sax returns and as in its previous participation, it adds a delicious colorful taste. The album finishes with a soft acoustic guitar episode.

Congratulations to these talented guys, I hope they keep creating music and I also hope I can see them in concert sometime soon.

Enjoy it!

Eight years on from their debut, Mexican progressive act DLS are back with their second album. Given the amount of time which has passed it is somewhat surprising to realise that only guitarist Efrain Fraire is no longer a member of the band, as he left during the recording of this album so provides some additional guitar on just three tracks. He has been replaced by Leonel Huerta while the rest of the band are still Sergio Sunga (vocals, guitars), Carlos Barcenas (keyboards), Angel Natividad (bass) and Jose Armengol (drums and percussion).

The result is an album which is very much middle of the road crossover, with some heavier touches here and there, and the initial reaction is that this is a band who will appeal to fans of Porcupine Tree, RPWL, modern Marillion and Big Big Train as well as the likes of Pineapple Thief. For me the album works best when they are punching the guitars, such as in sections of closing number "Ωmega", but when they are taking the music in a more modern and quieter direction, I feel my attention shifting. But I am also very aware that this is my personal taste (the last few times I have seen Marillion I have vowed never to do so again, I am a slow learner) and there are plenty of people out there who will find this a very interesting album indeed. The production is good, the arrangements very well structured and the vocals excellent, it is just not a style of progressive rock which I want to spend a lot of time listening to. This may not be for me, but if you like the bands above and enjoy your prog to be easy to listen to then this may well be for you.