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BETWEEN THE BURIED AND ME

Tech/Extreme Prog Metal • United States


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Between The Buried And Me biography
Originally formed in 2000 by members of Prayer For Cleansing, Between the Buried and Me play an unpredictable combination of countless styles, generally centering around an extremely complex variety of metalcore with death metal influences. Their constantly shifting song structures and tight musicianship have combined with intense agression and remarkable variety to gain them a noteworthy following. Their style of extreme metal was introduced on their debut album in 2002 and began to gain increased attention with 2003's The Silent Circus. The aftermath of this release saw drastic lineup shifts in the band, with only vocalist/keyboardist Tommy Rogers and guitarist Paul Waggoner remaining from their previous lineup. The group's new cast of musicians included Glass Casket guitarist Dusty Warring and drummer Blake Richardson, as well as bassist Dan Briggs, recording and releasing Alaska in 2005 to critical acclaim.

In 2006, the band released an album comprising of bands that influenced Between the Buried and Me.

Their 2007 release, Colors, was also released to much critical acclaim and saw most of the metalcore/hardcore influence in their sound done away with.

The band also released their first ever DVD in 2008, Colors_Live, a live DVD featuring the whole of the album Colors played from beginning to end.



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Discography:
Between the Buried and Me, studio album (2002)
The Silent Circus, studio album (2003)
Alaska, studio album (2005)
The Anatomy Of... (2006)
Colors, studio album (2007)
The Great Misdirect, studio album (2009)

Between The Buried And Me official website

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BETWEEN THE BURIED AND ME shows & tickets


  • Between the Buried and Me on 7 Jul 2015
  • Between the Buried and Me + Animals as Leaders + The Contortionist at Venue 578, Orlando on 9 Jul 2015
  • Between the Buried and Me + Animals as Leaders + The Contortionist at Revolution, Fort Lauderdale, FL on 10 Jul 2015
  • Between the Buried and Me + Animals as Leaders + The Contortionist at Warehouse Live, Houston on 13 Jul 2015
  • The Coma Ecliptic Tour on 15 Jul 2015
  • Between the Buried and Me + Animals as Leaders at Brooklyn Bowl, Las Vegas, NV on 18 Jul 2015
  • Between the Buried and Me + Animals as Leaders + The Contortionist at The Observatory, Santa Ana, CA on 21 Jul 2015
  • Between the Buried and Me + Animals as Leaders + The Contortionist at The Catalyst, Santa Cruz, CA on 23 Jul 2015
  • The Coma Ecliptic Tour on 24 Jul 2015
  • Between The Buried And Me - The Coma Ecliptic Tour @ The Complex on 27 Jul 2015
  • The Coma Ecliptic Tour on 30 Jul 2015
  • The Coma Ecliptic Tour on 1 Aug 2015
  • The Coma Ecliptic Tour on 2 Aug 2015
  • Between the Buried and Me + Animals as Leaders + The Contortionist at London Music Hall, London, Ontario on 4 Aug 2015
  • The Coma Ecliptic Tour on 5 Aug 2015
  • The Coma Ecliptic Tour on 6 Aug 2015
  • The Coma Ecliptic Tour on 7 Aug 2015
  • The Coma Ecliptic Tour on 8 Aug 2015
  • Coma Ecliptic Tour: Between The Buried and Me on 11 Aug 2015
  • Between the Buried and Me + Animals as Leaders + The Contortionist at Starland Ballroom, Sayreville, New Jersey on 13 Aug 2015
  • Between the Buried and Me + Animals as Leaders + The Contortionist at Ziggy's Tavern, Winston-Salem on 14 Aug 2015
  • Between the Buried and Me + Animals as Leaders + The Contortionist at Marathon Music Works, Nashville on 15 Aug 2015
  • Between the Buried and Me + Haken at Talking Heads, Southampton on 16 Sep 2015
  • Between the Buried and Me + Haken at Electric Ballroom, London on 17 Sep 2015
  • Between the Buried and Me + Haken at Gorilla, Manchester on 18 Sep 2015
  • Between the Buried and Me + Haken at The Garage, Glasgow on 19 Sep 2015
  • Between the Buried and Me + Haken at The Key Club, Leeds on 20 Sep 2015
  • Between the Buried and Me + Haken at Rescue Rooms, Nottingham on 22 Sep 2015
  • Between the Buried and Me + Haken at The Haunt, Brighton on 23 Sep 2015
  • Between the Buried and Me + Haken at La Maroquinerie, Paris on 25 Sep 2015

BETWEEN THE BURIED AND ME discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

BETWEEN THE BURIED AND ME top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.74 | 47 ratings
Between the Buried and Me
2002
3.61 | 67 ratings
The Silent Circus
2003
3.52 | 100 ratings
Alaska
2005
2.80 | 46 ratings
The Anatomy Of...
2006
4.02 | 296 ratings
Colors
2007
4.01 | 219 ratings
The Great Misdirect
2009
4.11 | 169 ratings
The Parallax II: Future Sequence
2012
4.50 | 16 ratings
Coma Ecliptic
2015

BETWEEN THE BURIED AND ME Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

BETWEEN THE BURIED AND ME Videos (DVD, Blu-ray, VHS etc)

4.30 | 31 ratings
Colors LIVE
2008
3.60 | 5 ratings
Future Sequence: Live at the Fidelitorium
2014

BETWEEN THE BURIED AND ME Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.71 | 7 ratings
Best Of
2011

BETWEEN THE BURIED AND ME Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

0.00 | 0 ratings
Demo
2001
3.79 | 66 ratings
The Parallax: Hypersleep Dialogues
2011

BETWEEN THE BURIED AND ME Reviews


Showing last 10 reviews only
 Colors by BETWEEN THE BURIED AND ME album cover Studio Album, 2007
4.02 | 296 ratings

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Colors
Between The Buried And Me Tech/Extreme Prog Metal

Review by Wicket
Prog Reviewer

5 stars Ok, I'll admit this first off the bat; I discovered BTBAM through Guitar Hero thanks to "Prequel To The Sequel", so according to some people that means I'm not a diehard fan.

Since then, though, I decided to actually buy (buy! when we can just torrent!) all their albums since and will also do so for Coma Elliptic when that is released soon.

Now, I am a fan of some pretty heavy metal. Steel and iron, for two, say. But if it ain't got some melody, unusual shape or form, electronics or epic symphonic strings and choir, or doesn't tell a story, count me out. That means you, Cannibal Corpse.

But BTBAM was different. Even in Alaska, you could just tell that wanted to go bigger. They wanted to tell stories, explore melodically and technically. They wanted to do something no one else had ever done before.

And dear god did they get the recipe right with this.

Looking back on this album now, at times it seems a bit one dimensional compared to their later offerings, but their execution was no less than spectacular. "The Backtrack" provides a nice soft opening which leads to a blistering opening in "The Decades Of Statues". Even though The Great Misdirect and the Parallax discs have a bit more of a sophisticated structure (for lack of a better term), "Colors" still is one of their heaviest offerings. Right away, though, I feel a little bit of disappointment in Tommy Rogers' vocal work. It seems very minimalistic, more of a hypnotized drone than real singing or crooning which he flexes in later albums, which is a shame, because their cover album "The Anatomy Of One" proved he does have some golden pipe chops.

Oh yeah, I got off track. Long story short, "Decades Of Statues" is a [%*!#]ing bludgeoning sledgehammer.

But then "Informal Gluttony" rings in with a gong and some sort of tribal ritual drum and chant kinda stuff. Once the main theme of this song kicks in, then you realize this is no ordinary album. Time signatures are getting mashed, chords are going all freaky like, and Blake Richardson puts on one of the most fantastic chop tracks I've ever heard out of a drummer (and his setup isn't as outlandish as you might think for a metal drummer, he only uses about 4-5 toms.) And after another fine fill, "Sun of Nothing" introduces to us a now familiar staple of their repertoire, a long double-digit track with short introductory heavy section, then a longer softer section, followed by a reprise of the heavier section to close out the track. By "Future Sequence", it becomes predictable, but still nevertheless enjoyable.

This track also gives our first taste of their wacky side roughly 3 and a half minutes, with Richardson rocking out a jazz riff, vocal rhythmic stuff and is that a chorus of laughing babies in the background?

Before long though, the heavy breakout returns and the W&W of metal (Waggoner and Waring) introduces us to the nice happy theme in the middle, before it disappears again under another sheet of BRUTAL. And then BTBAM takes another 360 degree turn to some nice acoustic riffs followed by a very Latin-y drum groove, before Rogers introduces us to the "floating towards the Sun of Nothing" chorus, and then after a big melodic chorus, the screaming returns right behind frankly one of the juiciest melodic licks and phrases I've ever heard, building tension behind another amazing Richardson fill right before "Ants Of The Sky", where the actions literally doesn't take a break, and keeps right on chugging along. Between these two songs, I first heard just how well you could integrate huge heavy phrases between segments of beautifully orchestrated arpeggiated 7th and 9th chords. Then the nice waltzy theme of Ants comes in right before the instrumental breakdown with Rogers rocking the rock organ sound.

Honestly though, "Ants Of The Sky" is one of my favorite BTBAM tracks ever. It just flows so beautifully together like a giant finished puzzle piece, even the section where it flows into the obviously-not-Pink-Floyd-influenced-guitar spot and the rock organ power chords laying down the back beat. Clearly though, before this, technical mastery of multiple genres in a single track was possible, and was done, but just not this smoothly, this elegantly, dare I say. There's even an odd sort of neo-classicism in the high, melodic guitar licks as well. Very structured and ordered. Same as "Sun", in the middle the heavy stuff gives way to a softer buildup with Richardson on the toms, and Rogers crooning possibly the best melody on the disc behind some quite epic power chords. Hands down one of, if not the best track on the album. It really feels like a Shakespearean epic, where the big climax is in the middle of the story.

And of course no epic track can be complete without an homage to an old west bar/saloon with crashing bottles and a nice little acoustic solo, right before the Ants theme returns in epic, happy-mode fashion, which of course segues into the peoples favorite, "Prequel To The Sequel".

Of course, I'm a sucker for that intro melody, was and probably always will be. It's a unique melody, one that can't, and never will be duplicated, which is why it will always be one of the best ever, and what separates good bands from the great bands. Oddly enough, though, this song seems to stray a bit from the norm, as after that main melody plays, it's straight up onslaught from there on out. Although I really like that chugging buildup that ends the track on the Guitar Hero section, I still feel that it's out of place, and kinda feels cut-and-paste when the weird, pirate-y accordion section kicks in.

Also, I still can't figure out who screams at this last section. It's obviously someone else because Rogers is also the typical screamer correct? The sharp contrast behind his typical growling and this high pitched shriek is actually brilliantly done in the closing breakdown, before the song's 2nd theme returns in another cut-and-paste feel again. Perhaps that's why this song never caught onto me like it did everyone else.

Lastly, the obligatory soft (interlude?) "Viridian" resets the table for quite an epic climax in "White Walls", my 2nd favorite off the album. Once again, it's structured in that heavy-soft-heavy format that's become a staple of their repertoire now, as variations on the track's theme recur throughout, before the soft section comes in and Rogers' monotone recital during the buildup is absolutely chilling. Everything about the tempo, the chords, the singing, the melody, the overlapping harmonies, is simply perfectly timed. Something about this section before the growls and the break come in is just mesmerizing, undoubtedly the sound of what a climax to an epic album should sound like. And one last breakdown, a big (roughly) 3 minute finale rings out in true rock star fashion before it all fades to black and Rogers on the keys returns to finish where the album started.

Now, to sum up the album as a whole piece. Is it perfect? Absolutely not. There are parts in the composition that just sound like they would've worked off better in the head then it does through the ears. Frankly though, that's just a small minor detail in the larger cog of this album. What this album represents is something much greater than the sum of its parts. This is the definitive album that shows that melody and technicality can live together in a crazy progressive, death metal smoothie of some kind. Sure, other bands have been doing this for years before, but none have sounded quite as smoothly as when BTBAM recorded "Colors. Sure, listening like Cynic or Electrocution 250 was quite ear-opening, but BTBAM did something amazing, something that no other band has done before or done since, really.

It just... sounded right together.

When dabbling into the world of progressive music, there are undoubtedly moments in time where you hear a phrase and while praising the audacity to perform it, you also think "Gee, that, could've sounded much better". Even though there were some cut-and-paste moments in this album, it was also transparent, so much so that it felt like it was exaggerated so much to the point of sheer idiocy (the laughing babies section in "Sun", for example).

Nevertheless, it established something crucial for BTBAM that they strived for years; an actual identity. BTBAM actually kinda sotra hit the mainstream with "Colors" (which is why I heard it on Guitar Hero, or was it Rock Band? I forget). It almost defies logic; "You can't go mainstream with a concept album that's essentially one hour-long song!"

And yet somehow they did it. And their experience in making Colors has gone on to help refine that strategy to produce The Great Misdirect, Parallax 1 & 2 and Coma Elliptic (which I REALLY hope isn't a more conservative approach to their style, Parallax II is the [&*!#]).

So if you really think more techy-prog metal isn't right for you, try cracking into "Ants Of The Sky", "White Walls" or "Obfuscation" off the Great Misdirect. You just might find that a nice blend of melody and brutally might just wear off on you. It did me, and it took nearly 5 listens of "Colors" in its entirety before I was completely sold on the band. Every time you listen to BTBAM you discover something new.

Honestly this album was a game-changer. Someone send to a metal hall of fame or something!

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 Colors by BETWEEN THE BURIED AND ME album cover Studio Album, 2007
4.02 | 296 ratings

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Colors
Between The Buried And Me Tech/Extreme Prog Metal

Review by Jordan677778

5 stars I was first introduced to this album 5 years ago. Being someone who typically listens to hard rock and metal, it still took a couple of tries to get a feel for it. I'd never listened to much death metal or metalcore before. In short, this album expanded my world of music into many new metal subgenres, as well as the world of prog. After well over 100 listens through the years, this album is nothing short of amazing.

The album begins with peaceful and delicate melodies played an piano, but quickly begins its ascent (or descent?) to metal. Unfortunately the second track (as I find with all of their albums for some odd reason) is the weakest of them all. It stands out in a bad way, because it's hardly progressive and contains almost entirely growly vocals which are used more sparingly in other tracks. Really, this song should almost have been left out altogether. That's almost the only negative point I have about this album.

Informal gluttony has an immensely powerful instrumental intro, and eventually settles down into to a hauntingly elegant chorus ("feed me fear..."). This album changes genre/mood often, and on a first listen seems as if they're doing it at random. Except after a couple listens, the album doesn't feel "random". It has a flow almost unlike anything I've ever heard. Some prog albums it feels as if they wrote a bunch of pieces then later strung the medley together with some attached interludes, but this just... grows. It evolves as it goes. The last several minutes of 'Sun of Nothing' leading into 'Ants of the Sky', possibly my favourite part of the whole album, is a great example of this. It starts off with gentle clean guitar and some very light drums, growing into a catchy rock rhythm, further growing into a heavy rock rhythm and growly vocals, and finally evolving into an incredible metal climax that builds into the first riff of Ants of the Sky. They take something that should normally feel strained or forced, and make it feel so 'proper', like it was meant to be. Ants of the Sky continues this feeling, minus the increase in intensity. This song has a vast abundance of instrumental sections, and is easily the best overall track on the album. The "main" riff or refrain that happens in this song only twice is almost reminiscent of "Canon rock" by Funtwo on youtube. Yes, it sounds almost classical amidst a track otherwise seemingly not classical in any other way. But it sounds right at home, which I just can't explain. That's part of the magic of this album.

Ants of the sky also has a beautiful part just past the halfway point where Tommy overlaps his clean vocals with his growl vocals to create something quite beautiful, yet at the same time powerful. It's almost like the listener can choose their preferred vocals and ignore the other. He does it again in the song "Swim to the Moon" on one of their other albums. I've still never heard another band do something quite like that.

Viridian, a relaxing yet intricate bass solo, is a nice change from the intensity of the other tracks on the album. Viridian is very essential actually, particularly it's placement just before the final track. It allows you to prepare for the mind-altering instrumentals at the end of the album. I see it as the quiet before the storm and as such, does not at all feel out of place on this album.

White Walls starts out powerful and is the perfect finisher to this album. In my opinion the section from 1-3 minutes in outstays its welcome. It just doesn't seem to 'add' anything to the song except for some quirky riffs and growls, kind of like the first half of Foam Born: B. But after drum fills take the music back down to some soft guitar and vocals, the song is right where it needs to be. You hear the song starting to build very slowly ("Step back.."). The building is what this album is all about, and is just so deliciously good at it. The middle section all the way till the end of White Walls is my other favourite part of this album. The song reaches an absolutely insane climax followed further by guitar and drum solo's that completely fulfill the standard set earlier in the album. I can never get enough of those beautifully insane instrumentals, and that's what makes this album a 5 from me, though I'd really give it a 4.7 or so. Foam Born: B and a chunk of White Walls hinders this album from being my definition of perfect prog metal(core).

At first you probably won't notice it. BTBAM don't just 'play' metal on this album. They USE metal as a tool to take their music to the next level.

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 Colors by BETWEEN THE BURIED AND ME album cover Studio Album, 2007
4.02 | 296 ratings

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Colors
Between The Buried And Me Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars I have to admit that I have failed to check this band out because I can't stand their name and to be honest, metalcore is not my most favorite subgenre because more often than not it is very one dimensional. Well, then there's BETWEEN THE BURIED AND ME which frankly blows me away with their 5th album COLORS Not only does their unique brand of metalcore blow away the competition but they also manage to sock it to us with their hybrid tech death metal, jazz interludes, indie rock, bluegrass and even cheesey AOR amongst other styles that they throw in whenever they see fit. A recipe for disaster you say, well surely it could be but somehow they manage to make this all work without sounding like those other bands that have also played the in the genre changing game.

This is at its core some seriously brutal stuff but even at their hardest and loudest aggressiveness they have mastered the progressive metal thing making the timings and nuances really fascinating and they have an excellent sense of delivery knowing how to milk an idea and letting go before it gets really annoying. Now that i'm a convert to a band whose name I can't stand I can hardly wait to hear the other twisted ideas they can muster up. I was expecting this album to wear thin by the time it got to the end but never happened. I have given this several good listens expecting it lose its luster but that hasn't happened either. A strange sound this is indeed but one for which I have acquired the need.

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 Colors by BETWEEN THE BURIED AND ME album cover Studio Album, 2007
4.02 | 296 ratings

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Colors
Between The Buried And Me Tech/Extreme Prog Metal

Review by Warthur
Prog Reviewer

4 stars A glorious example of just how fruitful the cross-fertilisation of progressive metal and metalcore can be, Between the Buried and Me's Colors weds clean vocals and death metal growls, furious breakdowns and sweeping progressive metal workouts, and sprays the resulting fusion over broad canvasses (including the incredible 14 minute album closer White Walls) to yield a metalcore album that most prog metal fans can love. Vocalist-keyboardist Tommy Giles Rogers is perhaps the star player in my estimation, but all the band members turn in great performances and the end result is a cutting-edge metalcore masterpiece that stands as a shocking rebuke to anyone who'd write off metalcore as shallow or formulaic.

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 The Parallax II: Future Sequence by BETWEEN THE BURIED AND ME album cover Studio Album, 2012
4.11 | 169 ratings

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The Parallax II: Future Sequence
Between The Buried And Me Tech/Extreme Prog Metal

Review by Memo_anathemo

5 stars Let me tell you that I am not a particular fan or at least follower of bands of extreme metal where the voice is growling and nothing can be understood, at least at first hearing by a non- speaker of English or the language in which the growl is delivered. My first approach to a band using this and I liked it was OPETH, and they are still a favourite to me. Then I have heard others bands but they do not convince me at all. Between the Buried and Me was one of those bands. When I heard for the first time Between the Buried and Me was in the album Colors, and the moment I heard the voice was like: STOP! Few years later, I tried again in a different kind of environment, and hell, was I wrong! Incredible! Then I missed the next album, and suddenly I knew about THE PARALLAX II: FUTURE SEQUENCE and I was like: Let's give it a try! I'm glad I did, one of the best albums I've ever heard of this kind. Separating Tommy Rogers singing, the first thing to concentrate on is the music, and wow, it is extremely well produced, arranged, powerful, fast, intelligent, logical, complex ... then add the voice, and Tommy Rogers has that combination of alternative voice with death metal, and together with music, it flows consistently. I like COLORS ... I adore THE PARALLAX II.

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 The Great Misdirect by BETWEEN THE BURIED AND ME album cover Studio Album, 2009
4.01 | 219 ratings

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The Great Misdirect
Between The Buried And Me Tech/Extreme Prog Metal

Review by TechnicallySpeaking

4 stars I will start by saying that I do not specialize in progressive metal that includes growing vocals, but now and then I make and exception, and I have decided to do so here...

1. Mirrors (3:38) ' This album opens with some nice guitar riffs. The vocal starts as a melodic accompaniment. The music picks up pace with faster paced drums and nice bass lines. The vocal continues its melodic theme folding into the next track

2. Obfuscation (9:15) ' this track immediately transitions from the simplistic melody of the previous track Mirrors to this decidedly heavier metal piece. It begins with a nasty raw growling vocal that is offset with a symphonic sounding integrated guitar keyboard mix that standing along would excite almost any progressive rock fan. Getting used to the raw sounding vocal during the early part of this track can be a chore. However if you hang in there, you will find some excellent electric guitar riffs and some exciting drumming/base line backdrop. Then the song progresses into some more contemporary movements reminiscent of Dream Theater.

3. Disease, Injury, Madness (11:03) ' I must admit that I am not drawn to dark lyrical themes such as put forth by the name of this particular track. This song starts very heavy music with not much too much else to mention. Then it moves to a nice melodic piece with off-beat jazz style drumming and interesting conversational vocal. It continues to decay into a beautiful acoustic guitar piece and then suddenly explodes into a very heavy raw (once again nasty growling vocal). It continues and then migrates slowly into what I can only describe as a classic rock jam. Then we have a slower soft rock moment with brushing drumming, guitar effects and awesome bass line. The guitars break back with some well-developed lead guitar riffs accompanied buy organ (sounds like a Hammond). The song concludes with a very heavy raw growling gent.

4. Fossil Genera - A Feed from Cloud Mountain (12:11) ' The introduction is interesting as it sound like a movie track from some old film. It then continues with a something that continues to sound like something from an earlier error (30s or 40s) and then a layer of heavier distorted guitar comes in as an overlay. Sit back and enjoy the ride is the growing chorus that screams from the background. Then we get another Dream Then moment with the guitar and keyboard fully integrated into a singular complex sound following the powerful drumming augmented by bass line perfectly. There are some really nice moments buried (no pun intended) within what on the surface may seem to be chaos. The music gets more complex finally arriving at its acoustic classic guitar roots. We conclude with strumming acoustic guitar, complex clean guitar lead riffs and beautiful clean vocals.

5. Desert of Song (5:33) ' The song starts with some of the same excellent acoustics guitar work that concluded the previous track along with a wind effect. Then we have a 'Guns and Roses' style vocal introduction along with western style guitar, and perhaps some blues slide guitar. Then we break into the part of the album that would have the most popular appeal. It has a nice rolling but powerful ballet as they sing 'the silence is broken' chorus.

6. Swim to the Moon (17:54) ' Now we have the 'lion king' moment. No actually it is very good and breaks into a complex math rock piece reminiscent of 80's style King Crimson. Then rapidly it speeds up into a very technically complex movement of music. It is Chaotic at moments and very organized at others. The musicianship is excellent, but much of the central part of the track is lacking emotion. The center part of this track is almost overly technical which takes more time off the clock than needed. Then it starts to get really interesting with syncopated instrumentation, off- beat drumming and intense leads. There are complex and unexpected starts and stops, organ solos, ultra-fast guitar solos, and all round major kick'As rock and roll breakouts. Then back to the Celtic melody that started the song. The drumming is bombastic and flowing. The growing vocal joins back in for a short period and is broken up by a softer melodic movement of acoustic guitar and then back to the chorus followed by complex 80s style King Crimson guitar work.

While I am typically not a big fan of growing vocal, I do make a periodic exception for exceptionally talented music and musicians most notably Opeth and Ocean Architecture. These guys fall into this category for me, so 4 out of 5.

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 The Parallax II: Future Sequence by BETWEEN THE BURIED AND ME album cover Studio Album, 2012
4.11 | 169 ratings

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The Parallax II: Future Sequence
Between The Buried And Me Tech/Extreme Prog Metal

Review by Puppies On Acid

5 stars I don't say this about too many bands (none really), but I have been saying the same thing about BTBAM since Alaska was released....They get better with every album they put out. And Alaska was a very very good album. Then Colors blew that out of the water, then The Great Misdirect was like an even more mind blowing version of Colors. Then the EP came out and showed that they were just getting started. And now this!! All I can say is, I look forward to their future in music. It seems pretty bright from where I'm standing. Get this, listen to this, love this....its amazing!! It's my firm belief that Between the Buried and Me is hailing in the new amazing age of progressive music.

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 The Parallax II: Future Sequence by BETWEEN THE BURIED AND ME album cover Studio Album, 2012
4.11 | 169 ratings

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The Parallax II: Future Sequence
Between The Buried And Me Tech/Extreme Prog Metal

Review by Izek

5 stars When a friend recommended this band to me, I could not get into their music. After listening to their more ambitious work such as Colors, and the Great Misdirect, I found myself "getting over" the vocals and really appreciating their musical diversity and talent. After listening to Parallax: The Hypersleep Dialogues, I honestly did not see this band surpassing their previous work or simply getting better. Then I got my copy of this album....

Holy S**T!!

I could not believe my ear holes. With excellent musical composition and more (welcomed) clean singing, it seems like these guys got even better at working together to make their music while still adding a touch of humor. I would have to say this is now my favorite album by these guys and one of my favorite albums of all time. For those who are turned off by the vocals, I encourage you to give a more patient listen to BTBAM's music as they might expand your musical preferences the way they did for me. As for the reviewers at Progarchives, I would hope they would give a less biased review of BTBAM's albums (and at least give ONE review for this album) instead of complaining about Giles' vocals(not as much to complain about on this album). Even if you don't like their music, you cannot deny the diversity and technical talent that BTBAM offers....

I try to listen to whole album from start to finish but if I had to pick my favorite songs, I would say "Lay Your Ghosts to Rest", "Telos", and "Melting City"

By the way, I avidly use this website to find new music and have listened to many albums posted yet I have only felt the need to write a review on two albums. This album is one of the two that I feel deserved a review.

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 The Parallax: Hypersleep Dialogues by BETWEEN THE BURIED AND ME album cover Singles/EPs/Fan Club/Promo, 2011
3.79 | 66 ratings

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The Parallax: Hypersleep Dialogues
Between The Buried And Me Tech/Extreme Prog Metal

Review by VanVanVan
Prog Reviewer

3 stars I am one of those people who firmly believe that Between the Buried and Me's album Colors is one of the finest metal albums ever made. With that in mind, I've followed the band fairly closely ever since I heard that album. Their follow-up album The Great Misdirect was also very good, but to me it seemed to be lacking a bit of the magic that Colors had.

Thus, I was very excited to hear this release to see if they'd be able to recapture the spark. Unfortunately, I don't think that's the case here. Colors was brilliant because, despite the incredible heaviness and technicality, it never felt cramped and all the compositions felt unique and memorable. While BtBaM has certainly not lost any of their ability here, the compositions feel far more generic and at times even needlessly busy. Of course, that's not to say the album is bad by any means. There's quite a bit to enjoy here, but I have to confess that I don't think The Parallax: Hypersleep Dialogues measures up to its predecessors.

"Specular Reflection" begins with an ominous orchestral section that makes use of piano, horns, strings, and even some gothic-style chanting. At about the one minute mark, however, BtBaM drops the introduction and comes out swinging, with their typical blend of brutal growls, technical riffing and staunch refusal to stick to one time signature fully on display. Shortly before the four minute mark the group pulls out another of their signature moves, introducing clean vocals for a surprisingly melodic section. At around five minutes they switch things up again, introducing a motif that makes use of tribal sounding percussion and long, droning notes to replace the earlier frenetic riffs. This theme is developed for a while, with the heaviness returning and eventually morphing back into the heavily riff-based structure. The track closes with another clean vocal section that slowly fades out in a wash of sound effects and electronic noise.

"Augment of Rebirth" begins with a frenetic shredding section that's highly reminiscent of the opening of Colors' "Ants of the Sky." Once the vocals come in, however, the heavy, technical riffs return and the song begins to sound very (almost disappointingly) similar to "Specular Reflection." In fact, there's not a great deal of variation in the track as a whole until a bizzaro polka section begins around 6 and a half minutes in. It's just the kind of weird, quirky section that has made previous BtBaM work sound so varied and eclectic, but here it feels a bit forced and it's used only very briefly before the track returns to the brutally heavy riffing with which it began. It closes out with another excellent clean vocal section that comes off dreamy and crushingly heavy simultaneously. In fact, the last minute of the song in general is amazing, with heaviness and melody being blended with a sophistication that has been found lacking in much of the rest of the track.

"Lunar Wilderness" begins with a psychedelic section led in turns by acoustic and electric guitar. It's a brilliant opening that transitions perfectly into a growled vocal section. From there the track goes into another series of uptempo riffing sections, but in my opinion they're more smoothly carried out than in either of the previous tracks. Again, the track concludes with a dreamily psychedelic clean-sung section, and overall "Lunar Wilderness" ends up being, in my opinion, the strongest of the three tracks here.

So, all in all, while The Parallax: Hypersleep Dialogues is far from a poor release, I found myself a bit disappointed while listening to it. All of the elements that made Colors and, to a lesser extent, The Great Misdirect so good are there, but to me it seems like some of the soul's been sucked out. The compositions here seems a bit too busy, as if the band took every decent idea they'd ever had and tried to cram it into a mere 30 minutes. When it works, it works spectacularly, but more often than not, it just sounds kind of cluttered. If you're specifically looking for as much heaviness and technicality as possible, this might do more for you than it did for me, but overall I think one would be much better served with either of the band's previous two releases.

3/5

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 Alaska by BETWEEN THE BURIED AND ME album cover Studio Album, 2005
3.52 | 100 ratings

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Alaska
Between The Buried And Me Tech/Extreme Prog Metal

Review by DiamondsClarity

4 stars Between the Buried & Me - Alaska

Well, this album may not be as "Proggy" as their newer stuff, but I still find this album great. This is probably one of my favorite albums by them and for any fan that likes this kind of prog, should give it a chance. Now, the highlights of the album are indeed the song Alaska, it is amazing how they jump around time signatures so much. Another song that really stands out is the song, Selkies: The Endless Obsession. This song is filled with progressive elements and shows that they were headed in the right direction. With synths, odd time signatures, the clean ending, all makes this song a wonderful progressive adventure. Definitely my favorite track. Now with the other tracks, there were some fillers, but a lot did grow on me. Other tracks I really enjoyed at first were; Backwards Marathon, All Bodies, The Primer, and Laser Speed. Laser Speed is just awesome. A great acoustic instrumental that anybody should find enjoyable.

Now, onto the rating. 4 stars, why? For music; like I explained earlier, there were some fillers, but they tend to grow on you. But, of course, there were many great songs. For their musicianship; Oh, they are great indeed. Drumming of Blake Richardson is outstanding. His fills are great, and hyperactive. The guitar work and bass work is as well outstanding. Great sweeping, great bass lines. The vocals; ahh, his death growls, just are really unique. I would of liked more clean vocals, but you can tell he is capable of singing clean, as in the song Backwards Marathon, he shows his full capability. Overall, I'd rate this album a 4.5/5 or 4/5.

***** songs- Selkies, Alaska, Backwards Marathon, All Bodies.

**** songs- Laser Speed, The Primer, Medicine Wheel and Autodidact

*** songs- Roboturner, Breathe In Breathe Out, and Croakies and Boatshoes.

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Thanks to Bryan for the artist addition.

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