DIVINE INNER TENSION

Alt prog is quite an interesting prog subgenre for me. Combining hardcore, and or more punkish alternative rock with the complexities of progressive rock is odd to say the least, but it works out extremely well. Recently, I have been listening to a bit more of this strange fusion of a genre, with a lot of Thank You Scientist, Mars Volta, Coheed, and Closure In Moscow. I have also been listening to a lot of Hail The Sun.

Hail The Sun is a band from Chico, characterized by their fast paced, extremely proggy post-hardcore music, say like a middle road between At The Drive-In and The Mars Volta, but with a lot more emo elements and tasty math rock. I am honestly surprised I have not actually listened to them before this year, since their music would easily be up my alley, but I guess fate works in mysterious ways, but by god am I loving what they put forth, especially on their latest release.

Their recent album of Divine Inner Tension is phenomenal. There is no sugarcoating it, this recording is a bonafide instant classic in my book. This is probably one of the rawest albums I have heard so far, and I am loving it all. It's raw in a way that doesn't feel overtly sloppy and lofi, but still has this prowess that gives its punk flavors go into the light. This really is the truest form of progressive punk.

Now, where to start on my piece. Well, for one, I love Aric's vocals here. I am a big sucker for androgynous male vocals, which are kind of the reason why I fell in love with Cedric's falsettos, but man, Aric delivers some tasty highs. His drumming is also really great, very technical, but still has that hardcore edge that has me rolling. His drumming stylings give me some Botch vibes, which is very appreciative. Mathcore is awesome.

I also love the track listing here. They do not fall into the same trap many bands fall into where one half is stronger than the other. No, here you get a selection of excellent tracks for you to dive in. Not only that, but there is no bad track on here, as each song delivers some very juicy music I think, and even though they are relatively quick I find myself always finding at least something a little new about them. Really, I think this is one of those few prog bands that don't need a really long track to establish themselves into the prog hierarchy, as even their shortest track delivers the same punch that a 8-10 minute track can. Seriously, you aren't gonna get a bad song on here, trust me.

Though, I do think there should've been some more calmer moments on here, like with Feeble Words. While I absolutely love the tracks here, I think having some more calmer places to breathe can really make this record shine. Maybe just one more, as Feeble Words certainly does get the job done pretty well on its own, but I think having another one wouldn't hurt, and maybe even make this record a little more amazing.

However, that is my last and only critique on this album, because there is still so much to talk about, like the lyrics.

The lyricism on this record is brutally sad, with symbolic messages of various forms of trauma, from religious, to self-abuse. The lyrics are fairly straight to the point, but they still carry a lot of that poetry finesse, kinda what Pink Floyd did with Animals. I think the best lyrics go to Tithe, with the post-chorus where Aric sings "I am God, I am gone". That line stuck out to me since it feels like it is from both the perspective of someone who is abusing their power, and someone who is being abused. The abuser may be telling their victim that they are a God for them to beckon and merely devote to, and the line where they are gone could symbolize them leaving their victim for new prey to abuse. However, as said, it can work in tandem with the abused. Some abuse victims may develop god complexes to try and make themselves, and the situation they are in better for them, in some horrifyingly sick sense, and it could become a form of violent escapism, which could be insinuated by the 'I am gone' line, as they know their mind, after so much intolerance and harm, is practically gone, inside a wall they built themselves.

Hell, I could even continue this further with the last lines of the last song, Under The Floor, being "I want to be loved by you, I want to be your God too". It is almost like a victim that suffered so much abuse figures that to really gain the helpless love of their abuser, they must become as abusive as them, denouncing their humanity and selflessness over becoming some God in their own corrupted mind, filthied by countless years or decades of being weakened and afraid. This is merely my interpretation of the thematic elements within this record, but my god the lyrics are brutal, and I love it. Seriously, this is some great song writing on here.

Lastly, this album has three tracks that I think are the best of the best here, that being the 1 2 punch of 60-Minute Session Blocks, Maladapted, and The Story Writes Itself.

60-Minute Session Blocks is a song devoted to burn out, and good god is it scarily relatable. The music is fantastic as it weaves through these various passages of speedy punk music, but the real ticker for me is the lyrics. The lyrics feel like something I would write as I vent about my feelings, or how I might experience burn out. Personally, I am a very indecisive person, and a lot of the times my indecisions make me very unmotivated to do stuff, like school work or projects. It is a constant struggle for me, so it is kinda comforting to know some also feel the same, at least to some degree.

Maladapted is also fantastic lyrically. I am floored by the build up of "Stop obsessing what's not important". Like, that is me, that is what I try to tell myself a lot when something even mildly cumbersome happens, and that "AND SO I GIVE UP" at the end is just that breakdown that asserts itself into me whenever my burn out takes the wheel. This song exemplifies that, and by god is it one of the best things I have heard this year.

Lastly is The Story Writes Itself. Unlike the other two tracks, I like this song for its composition mostly. This is the band at their strongest, with some brilliantly executed chords, drums, and vocals that bring a shiver down my spin. The breakdown at the bridge (at around 2:45) is especially good. Those orchestral vocals in the back are brilliant, and one of the best bridges I have ever heard.

It is really hard to not call this a masterpiece, mostly due to the fact I do not want too many 5 star records for this year, and I already have like 5 as is, but how could I not? This record may be imperfect, but it is perfectly imperfect, as it delivers these raw, gripping, and emotional elements that I cannot get enough of. Genuinely this record is a must listen, and one I think will be a contender for album of the year. It is genuinely one of the best alternative prog albums. Listen to this one, I assure you won't be disappointed.

High octane tech/extreme metal that sounds like a mélange of The Mars Volta, Opeth/Pain Of Salvation, and a little Pat Benatar.

1. "Tunnel Vision Alibi" (3:11) With Pat Benatar structure and force, this is a little more 21st Century tech metal than Ms. Benatar's ilk. (From the song's first notes, I thought that the lead vocalist was a woman!) (8.75/10)

2. "Mind Rider" (3:21) sounds like an inverted variation of the album's opener before going more THE MARS VOLTA with quick, spacious pauses and more Cedric Bixler-Zavala-like vocals. The instrumental passage in third minute is brief but packed and rear-ended by a slowed down passage with TMV-like multi-voiced vocals. (8.75/10)

3. "Chunker" (4:17) man are the guitarists and drummer working on overdrive for this one! Interesting but the TMV sound and Cedric Bixler-Zavala-sounding vocals make me think I'm just listening to TMV! The final 45-second dream sequence is a bit weird. (8.66667/10)

4. "60-Minute Session Blocks" (3:13) a different sound! This one more pop-oriented (less metal and more hard rock--at least until the choruses). I keep hearing The Police's "Sending out an S.O.S." in the third minute. (8.75/10)

5. "Maladapted" (3:50) great lyric to a LINKIN PARK-sounding song. Even the impassioned screams in the second half only lend to the Linkin Park similarities. A top three song for me. (8.875/10)

6. "The Story Writes Itself" (4:15) opens with cool layered weave of guitar shredding before launching into yet another TMV-like power jam--at least until 2:20 when everything stops and we enter another dream-like passage--a dream that turns into a nightmare. Don't get me wrong: I really like and respect The Mars Volta, but it pains me to hear a band that so clearly, blatantly, imitates their heroes. (8.75/10)

7. "(In My Dream)" (1:35) just like the opening of the album's first song, I have trouble determining whether or not the singer here is female or male. (He's male.) Pretty little prelude to the next song. (4.5/5) 8. "I Saw You Hanging" (3:43) A strong, powerful story delivered over some very nice music with some darn good singing (very sensitive, genuine sounding). Could almost be an Evanescence song. (8.875/10)

9. "Tithe" (3:56) opening with djenty machine gun military rhythm sounding like old Opeth or Pain Of Salvation--a sentiment that is amplified as the singing moves on. Though the song has multiple motifs sown into line, the singing remains fairly consistent (TMV+ death metal) until the bizarre finale. (8.875/10)

10. "Feeble Words" (2:26) a softer dreamy soundscape within which Donovan's most female-yet voice sings--almost sounding like a little girl. (Intentionally?) or POISON. Weird but pretty--and surprisingly emotion-packed in a pop hit kind of way. (4.5/5)

11. "Little Song" (4:17) funky FLEA-like bass line is joined by drums and effected guitar tremolo-picking before Donovan joins in singing in his power voice. He's so invested! Best chorus and followup sections on the album. And some of the best sensitive singing on the album--and this from a very passionate singer/songwriter. Quite a lot of similarities to KARNIVOOL's Ian Kenny. The best--and my favorite--song on the album. (9.5/10)

12. "Under The Floor" (3:50) One again Donovan's androgynous voice fools and confuses me--over some powerful tech-metal music. My final top three song. (9/10)

Total time: 42:00

B+/4.5 stars; a near-masterpiece of variable prog metal; something most prog lover's will enjoy and appreciate-- especially if you're into The Mars Volta.