EARTHSIDE

Even compared with Earthside's amazing debut from 2015, this is still superior work. The variety of musical landscapes is overwhelming. This masterpiece is its own mini-world, and needs to be listened to many times until it is full absorbed and assimmilated into your blood stream.

One of the most courageous tracks, "The Lesser Evil", features a horn section to its funk-djent arrangement, which is a very original choice, and produces an overall sound that is rare in the prog-rock genre. Special praise should be given to Ben Shanbrom for his sensitive and intelligent drumming skills. This doesn't mean that Jamie van Dyck's name can be ignored, since his contributions to the end-product are numerous.

This symphonic mega-work concludes with yet-another climax called "All We Knew and Ever Loved", which features some kind of church organ and has a minimalist (soundtrack-ish) feel to it. The bombastic ending fits this one-of-a-kind album, which is a huge achievement for the band, and also for the entire prog-rock genre in the 21st century.

In short, LTTS by Earthside is an essential masterpiece for 2023. Its generous duration (77 minutes) adds value to the package. Blessed are the creators and fortunate are its many new listeners, around the progressive world.

'The Lesser Evil', confusing, meets an Earth, Wind & Fire, a Prince with this soul-jazzy side and the violence of a Periphery, a Panzeballett; Larry sings accompanied by Sam on tenor sax for an unimaginable crossover ballad between explosion and fruity mixture. 'Denial's Aria' with Keturah on vocals and harps from Duo Scorpio, magical, relaxing; sound on the soundtrack of 'Silent Hill' imbued with nostalgia; a melancholy ballad, musical, limpid water. 'Vespers' atmospheric, dreamlike, angelic interlude; whispered Japanese voices, Earthside really goes far. 'Let the Truth Speak' follows with Daniel from Tesseract on a lyrical song, the sound changes, a surge of violins, sharp riffs, the flowery djent is there; explosive piece with a gripping bass, shouted vocals, a break with Gennady chanting frantically over choirs and strings before the finale in apotheosis. 'All We Knew and Ever Loved' instrumental to close with Baard de Leprous on drums; an organ, a drum roll, Anathema's guitar, 'Interstellar' or 'Sunshine' in the background, it's all there; an orchestra to amplify the grandiloquent aspect, this latent ostinato air, the organ on 'Le bal des Laze', the memories flood in; the rush of musical adrenaline emerges with this battle of drummers, the organ becoming crazy, majestic, taking us beyond the stars, compressing us in our chair.

Earthside released an OMNI at the end of the year that you shouldn't forget; a gentle musical madness which denotes in a latent world, filled with misery and despair, a divine breath to heal.

Earthside is a relatively new group in the prog metal scene, being formed in 2014 in the New England region of the US. Despite their newer status, and very limited release pool, they have certainly made a name for themselves as a top dog in the newer sphere of prog metal, alongside Haken, Others By No One, and Caligula's Horse. What sets them apart from their colleagues is their metal in particular having a lot more of an introspective edge that can be similar to that of post rock groups like The Evpatoria Report, or We Lost The Sea. Whilst their first release, A Dream in Static, certainly featured their more lush heavy metal sound, their sophomore record of Let The Truth Speak expands on their post rock influences even more, whilst also showcasing an interesting way of bending certain genres to their whim.

If there is one descriptor I would say this album is in most of its facets, I would say pastoral. Now, you might be asking, why that word? Most of the times when you describe something as pastoral in a prog context, you'd mostly look at stuff in relation to the more folksy scene of groups like Strawbs or Gryphon. Well, I believe with how things are played about on this album, the term pastoral just fits right on home. The waves of beautiful symphonics mixed with an uplifting sense of self fits almost perfectly with the more country side outlooks many bands from the 60s and 70s looked towards for musical ideals, though to a certainly modern degree. Everything within the album's seams feel so warm, cozy, and tranquil in a weird but uplifting way, even in the more heavy moments this record shows often. I know, it is quite odd to call a heavy metal album 'cozy', but the music has a particular warmth to me that I never knew I craved in a record, almost as if it is a hug in musical form.

As for the sound itself in a more direct musical opinion, this is easily one of the best metal releases this year. Jamie Van Dyck's guitar soars in ways that makes it feel so otherworldly, with Ben Shanbrom's drums leading the pack with lines that have an intensity of a raging bull, but the comfort and loving embrace that of a mother. Frank Sacramone and Ryan Griffin also provide excellence here, with both allowing the textures to flourish that makes their efforts all the more commendable. Still, I believe the main focus is certainly the guest musicians that are on most of the tracks. Almost every track features at least one or two guest stars, usually with helping hands on vocals, orchestration, or sometimes to provide more instrumentation to the playing. However, this isn't like, say, Humanz by Gorillaz, where the guest stars are practically the musicians with the band being a mere backup. No, in fact this feels more like a communal effort, with both band and guests working together as one unit in these songs, at least how I see it. Look at The Lesser Evil for example, featuring Larry Braggs of soul groups Temptations & Tower of Power, as well as experimental jazzist Sam Gendel of Clown Core. Whilst certainly both play a large role in the sound of the song, I never felt both overpowered one another, or even overpowered Earthside in their efforts. In fact, it feels more like they bounce off each other with a highly enjoyable mix of things. Earthside obviously provide the more heavy metal sound, almost in a djent type of way, with Sam Gendel providing an amazing funky jazz that breathes a magical life in the mix, and Larry Braggs providing a soul / funk vocal setting, making this interesting fusion not only sound more pure, but filled with heart. Your attention is never on one particular thing here, only on the music, and as such these collaborations certainly feel just that, collaborations, work between musician and musician in order to make the art better than ever. Larry, Sam, and everyone else here aren't just featured on an Earthside record, they practically ARE members of Earthside here, and I think that is just beautiful.

Speaking of mixes of genres, I do not think I have ever heard a metal album so eclectic, aside from the Omnerod record I reviewed last week. I mean I already talked about the jazz funk mix of The Lesser Evil, but coming off that we get Denial's Aria, a strictly non-metal, ambient art pop track (and my favorite track on this album personally). I mean, having such a soft track after a wave of interesting, dramatic, and very vibrant metal workings seems like a recipe to absolutely break the flow of the album, and while it may certainly be unexpected, with just how it is orchestrated with a mix of beautiful symphonic qualities, atmosphere, and a sense of tension building, especially with the beautiful vocal workings of VikKe and Duo Scorpio's harp, it all comes together and creates probably one of the best scores in the band's catalog. This record is kinda like Omnerod's The Amensal Rise, but while that album was more so genres being mixed through the seams of a multitude of heavy, avant-metal workings, Let The Truth Speak is a clear and direct fusion between the genres Earthside is fascinated by. Obviously I mentioned elements of jazz, post rock, and pop here, but you also get elements of R&B, romanticism, soul, folk, and just a lot more that I find myself surprised with each listen, finding new things under every note. It is honestly quite amazing how they managed to just find a way to bend prog metal in ways that are totally unexpected, but totally rewarding all the same.

Though, I will say this record's only problem is that the second half is a lot more interesting than the first. While I do love a lot of the five tracks at the start, I find myself so much more interested in the later half, as it holds a lot more variety for me. While the first half is certainly consistently good, I am more interested in the various genre fusions and change ups that occur from The Lesser Evil through All We Knew And Ever Loved, but that's just me.

Speaking of All We Knew And Ever Loved, man what an amazing closer to all this. While I may find Denial's Aria to be the best track on this album, this track is a close second. This is where their post rock ideals shine thoroughly, capturing an almost Godspeed You! Black Emperor tone and energy, whilst also still sounding very much like Earthside. Just the buildup, each melody going through quietly, rising and falling to where you are not sure when the dramatics will reveal themselves. And when they do show up, they not only feel so otherworldly, but almost like you are experiencing music for the first time ever. This is also where Jamie's guitar reaches a level of magic that I have only seen Efrim Menuck reach in his various post rock projects, being this almost violin-like tone. It all comes to an end with a spattering of organs playing a singular bombastic chord, with the guitars in the back blaring sheepishly as the song closes out. It is basically a musical ecstasy in a way, creating a moment that I may never forget. Seriously, bravo on this wonderful track.

Certainly an album that must be listened to at least once. It features not only some of the most grand moments of prog metal this year, but features a variety of sounds and styles that I think anyone, no matter their musical preference, can certainly enjoy. As for myself, I believe with time and effort Earthside may become one the best prog acts of the 21st century for me, and that prospect may just be around the near future with how much time and effort they put into their music. If you want something good and new in the land of metal, look no further than this record.

1. "But What If We're Wrong?" (4:30) what is basically a two-chord song is transformed as if by magic by the ingenious layering of very active instruments above and around the core. It's as if the band turned something one dimensional and linear into something four-dimensional and subatomic! Awesome! (9.25/10)

2. "We Who Lament" (8:44) presenting one of those rare vocalists from the Layne Stayley, Ian Kenny, Einar Solberg class: a female vocalist named Keturah (Allyson), who is from Malawi. Here Earthside present one powerful, impactful, and refreshing song. It is a rare thing to behold to find a song that is driven so completely by the drum kit--and in a creative, melodic, and intrepidly multi-dimensional way that I am even more astounded as I listen to it each and every time! The section between 5:10 (or even 4:30) and the song's end is one of the most dynamic, creative, virtuosic sections of progressive rock music that I've ever heard! Ever! The band seems to create something that flits in and out of three, four, and, at times, five dimensions! And I absolutely love the choral shouts in the background over the awesome djent music of the final 90 seconds! Pure prog perfection! Easily the best drum performance that I've heard of all year. (Mega Kudos, Ben Shanbrom!) And bassist Ryan Griffin's djenty bottom-dwelling salvos stick with Ben all the way. Amazing synchornization! And Keturah's vocal performance is definitely one of the best on the album (and this is an album of phenomenal guest vocal performances). (20/20)

3. "Tyranny" (8:39) I love djent! the way those bass chords hit me in the chest! This song presents a little more of the piano-djent heard from France's KLONE and even Denmark's VOLA. Despite an opening motif that is perhaps a bit too drawn out, this song has excellent flow, development, shifts and (in the second half) melodic themes with impassioned play and vocals--a refreshing and nearly flawless song that gives so much more with each and every listening. I don't like the fact that it's not until the fourth minute that we, the listener, get to hear the true power and talent of freelance vocalist Pritam ("Pritzz") Adhikary. As a ballad singer, he's good, but as an enraged metallurgist, he is one of the best I've ever heard. Again the way this band mysteriously creates such engaging melodies with such a "big" and multi-dimensional sound is astonishing. There is a big shift, stylistically, at 4:40, into a gorgeously spacious, intensely atmospheric (almost Dream Pop) soundscape of guitar and bass arpeggi accompanied by Pritam's airy, floating, upper register vocalise. But then at 5:58 Pritam and the band break back into the heavy palette of the prog metallists while, somehow, retaining the conveyance of absolutely heart-wrenchingly gorgeous melodies. Miraculous! (As is Pritam's sincerely heart-felt performance in those final minutes.) Not even KARNIVOOL, VOTUM, or THE CONTORTIONIST have ever done it so fully, so perfectly, so effectively! One of the best progressive metal songs I've heard since this year's Ok Goodnight and Nw Obliviscaris albums hit my ears. (19.75/20)

4. "Pattern of Rebirth" (4:40) a more standard Prog Metal vehicle for vocalist AJ Channer (FIRE FROM THE GODS, Austin, TX). The keyboard parts are my favorite--reminding me of one of my all-time favorite Prog Metal tunes from Portland's THE MERCURY TREE, "Deep Five." I love the rap in the final 90 seconds with other voices woven over the three-range djent chords. (8.875/10)

5. "Watching the Earth Sink" (11:46) opening with some solo electric guitar play, classical guitar style like MAUDLIN OF THE WELL do. Guitarist Jamie van Dyck, one can tell, has had some serious classical guitar training (and commitment). In the third minute bass, rim play, and a second guitar track are added before Ben Shanbrom offers his toms. Tensions rise as the weave builds in the second half of the fourth minute, but then at 4:15, Ben's drums hit third gear and the rest of the band follows suite. In the sixth minute Ben's kick drum turns insistent metronome, leading the band into some awesome NEIGE/ALCEST-like walls of Shoegaze-metal with Ryan Griffin's awesome djent chord bass play right there with him. These guys are so tight! Jamie steps in with his screaming lead guitar to take us even higher before things calm down for a bit in the seventh minute while Ben and Jamie seem to "talk" to one another through their instruments. At 8:15, then, comes the real calm before the storm as Frank Sacramone's slow-playing descending Fender Rhodes arpeggi provide a wonderfully eerie pause while we wait for the ultimate dénouement (we all know it's coming)--which arrives slowly in the tenth minute, ushered in by Ben's driving tom and roto-tom play, while Jamie's guitar chords start to scream with increasing urgency. Some distant background vocals, big bass chords and low end fillers join in as chaos ensues. No lyrics or guest singer here. Just pure instrumental heaven (though not quite as creative or multi-dimensional as the opening three songs). Still, an awesome song. (22.25/25)

6. "The Lesser Evil" (10:59) vocalist Larry Bragg (TOWER OF POWER) leads this one over some excellent, layered keyboard work. Though not as Soul/R&B as one could expect with Larry's pedigree, there is definitely a completely different side of Earthside on display for the first 3:20 of this. Horn blasts and very deep chunky bass enter and (bass) take over as Larry's vocal definitely gets more R&B-familiar (not unlike a cross between Jeffery Osborne and Phillip Bailey). Incredible vocal performance. Hard to believe this is happening on a prog metal album! Amazing saxophone solo/work (and vocal) in the ninth minute! Mega kudos to these artists for not only taking a chance on this odd chemistry but for making it work! And work it does! This is one heck of a song (and Larry Bragg is one heck of a singer!) (18.75/20)

7. "Denial's Aria" (5:26) Welcome ViKKe (and, in a supproting role, Keturah) as well as harpist Dua Scorpio. With harp, keys, deep bass thrums, and infinity guitar notes, the vocalists here wow and entertain with an incredibly innovative and creative weave of theatrical storytelling. Not really a full metal song, but incredibly powerful in its entirely unique and laudatory creative delivery. Heavy and emotion-packed. Who knew Soul/R&B could mix with metal? (9.5/10)

8. "Vespers" (2:41) more excellent keyboard work painting a lush, dreamy, even jungle-like soundscape within which several voices and vocalists (including ViKKe and Russian nature-singer sensation, Gennady Tkachenko-Papizh). I love this song! (5/5)

9. "Let the Truth Speak" (10:47) Daniel Tompkins (TESSERACT, SKYHARBOR) takes the lead vocals this time with Gennady Tkachenko-Papizh playing a supporting role within this very thick walls-of-djenty KARNIVOOL-like sound. Very impressive vocal performances but the music is surprisingly "straightforward" for a djent-metal song--sounding a lot like some of LEPROUS's dirtiest songs (like "Slave" or "Coal")--no dancing string-theory multi-verse circles around the quantum core. (17.5/20)

10. "All We Knew and Ever Loved" (9:19) a cinematic prog homage to bands like GOBLIN and MIKE OLDFIELD that employs the value-added services of long-time LEPROUS drummer, Baard Kolstad. (In the video of the recording of this session, the two are seen split-screen duelling, synching, and weaving within and around one another in really entertaining ways.) Frank's heavy church organ is awesome throughout but truly essential to that magnificent crescendo at the end. (18/20)

Total Time 77:31

One of the most creative, progressive rock albums I've heard in a long time. The engineering feats achieved here alone constitute no small miracle of sound production: music that many times feels as if it goes beyond three dimensions, taking the listener beyond the confines of space and time.

A/five stars; a total masterpiece of progressive rock music in the truest sense of that which is "progressive." Definitely an album that belongs in every "prog lover's" music collection. For metal heads I should think those first three songs alone would make the price of admission worth it. All hail to these torchbearers of the progressive spirit of "progressive" rock music!

10/10

The bond you can form with a band is nigh unto sacred sometimes. I've been following Earthside since before they possessed that name, since they were just high schoolers emerging from their proverbial cocoons. And, oh, how proud I feel when I see the heights to which they can fly! Their new album, Let The Truth Speak, is an evocative witness to their collective mastery of both composition and emotion. It releases on November 17th.

Earthside has kept us waiting for their sophomore album for eight long years now, but believe me when I say that it is worth every second. Their 2015 debut A Dream in Static is a brilliant celebration of art and music theory, of composing with various themes and dynamics in play. This album, however, is different, and on a completely different level. The band lineup consists of Jamie Van Dyck on guitars, backing vocals, programming, and additional keys; Ben Shanbrom on drums and backing vocals; Frank Sacramone on keys, synth, programming, percussion, and additional guitars; and Ryan Griffin on bass on backing vocals. They bring with them a small army of vocalists and musicians that I'll mention in time.

This is the same band, but a different side, an alternative perspective, from their debut. While that album was cinematic and progressive and technical, Let The Truth Speak is a haunting, atmospheric, and illustrious tapestry that is united by theme, by cinema, by visions, and by emotion. It is more singular in its thematic outreach, yet its musical expression is more diverse than the debut, and it represents the band accepting themselves for who they are on a deep level.

This is a progressive metal album, yes, but it is so much more. It is towering, almost keeping me on my literal tiptoes with its highwire melodies. It is mixed impeccably well, and so you will hear every riff, every orchestration, every groove, and every sweeping motion in crystal clarity. This album is perfectly comfortable in the warm ambience, but just as comfortable with a crushing riff, a soaring piece of cinema, or a textured abstraction. It is a voyage through a deluge of sensations, a sepulcher of light, a dream of inner places.

I will readily admit that this album makes me cry from start to finish. There are two reasons for this. First, the immensity of what these artists, these friends, have created is simultaneously a massive weight on my chest, and a freeing spirit for my mind. It makes me so happy and uplifted to hear what they have become.

Second, the themes of the album are perhaps quite potent for me. If you have read the book I published earlier this year, The Tumult of My Heart, you will know that the last 5-10 years of my life have been a search for something more, something truer. And here this album comes along to validate that sense in me, the feeling that the truth should speak for itself. There are moments on this album that feel like I could have written them. The sincerity of the lyrics speaks to my heart; the encouragement to abandon fear and to stand in confidence hits me directly in the chest. And the music is tailored specifically to enhance and develop those themes into something transcendent, transformative, and tantamount.

And that is exactly what Let The Truth Speak feels like: a tumult. It has ten tracks, and they are all glorious. The opener "But What If We're Wrong" features Sandbox Percussion, and it is almost shy or teasing in how it plays with us, but before long a wave of riffs and orchestrations sweep in to see us off on our journey. "We Who Lament" follows, featuring singer Keturah, and the towering might of the emotions on this piece never fails to grab me by the throat; I love the riveting drumming, the explosive vocals, and the ethereal emotions. Next comes "Tyranny" with Pritam Adhikary of the band Aarlon, and this song has more grit and more edge; still we get the expansive riffs and the feelings of vastness and openness, and the strings play a big role.

Two of my favorites come next. First is "Pattern of Rebirth" with A.J. Channer of Fire from the Gods on vocals, and it is one of my favorite songs of the year. This piece revels in the band's nu-metal influences, and it grooves and riffs with utter majesty; however, the lyrics?written by A.J.?really speak to me and I find myself singing this one constantly. An instrumental piece "Watch The Earth Sink" comes next, and I'm sitting here right now ruminating over how amazing it is. This track is rather reserved at first, even ambient, as the band deftly and lightly plays their instruments. But soon a massive wall of riffs blows into the scene, and then a stuttering guitar lick and sinister orchestration blasts us off to another planet. Jamie kills it on a huge solo, and the song just keeps mustering more and more courage as it plays for twelve minutes total. What a ride!

And the band is just getting started. "The Lesser Evil" with Larry Braggs and Sam Gendel is one of the craziest songs I've heard this year; it is heavy and theatrical and even a little maniacal at points, and this is all augmented by a brass section that slices through the metal in arresting fashion. It is unique and amazing. "Denial's Aria" with Keturah, VikKe, and Duo Scorpio follows, and could be called the ballad of the album. It is all about atmosphere and harmony, and I think it has one of the best choruses on the album, if you could call it that. I love its burning character. "Vespers" with Gennady Tkachenko-Papizh and VikKe is the next song, and this one is like an interlude that borrows the personality of the previous track, but takes it into a darker territory full of whispers and faraway cries. I love it.

The last two tracks are massive. The title track features Daniel Tompkins of TesseracT and Gennady Tkachenko- Papizh, and it is one of the more complicated pieces, vocally-speaking. The orchestrations are exciting and visionary and acrobatic here, and Daniel's fantastic voice and gritty screams are such an evocative and beautiful way to end the vocal portion of the album. It is truly a exotic and layered piece.

The closer, "All We Knew and Ever Loved", featuring Baard Kolstad of Leprous, released two years ago, and I hope you've heard it. This piece is a mountain of cinema and transformation. It elicits so many feelings and haunted visions of other places that are somehow also nostalgic and familiar, yet perhaps becoming alien to us? It is gorgeous, from the depths of its ambient portions to the heights of its organ-driven climaxes, and it is a work of wonder.

Earthside have bested their debut, not just by writing better songs, but by offering us a loving, confident hand. This album will lift you to the skies, and bury you in the dirt; it will force you to face those inner demons, but it will carry you away to better places. It is a work of skill and mastery, of many years of blood, sweat, and tears as the band honed and finetuned every second. This is surely the album that will leave its mark on 2023.

"A Dream in Static" features 8 tracks, and a full playing time 63:52 minutes. The album opens with the instrumental "The Closest I've Come", and it´s audible from the get go, that we´re dealing with incredibly skilled musicians and composers. The performances are tight and the playing technically challenging. The material are relatively varied and while there are both heavy rhyhtms and hard edged riffing on the album, there are also a lot of more atmospheric parts, which lean more towards progressive rock than progressive metal. There are even hints at post-rock which the slow building and atmospheric "Entering The Light" is an example of. The band make the use of different guest lead vocalists work pretty well. The album does however become slightly inconsistent and feels a little more like a "project" instead of a band effort, because there isn´t a designated vocalist in the band, but there is no denying that Earthside have chosen some really skilled guest vocalists who fit well with the instrumental part of the music.

"A Dream in Static" is a very well produced affair, featuring a powerful, clear, and detailed sound production, which suits the material perfectly. Fans of the more polished and accessible type of progressive rock/metal should be thrilled with this album on all parameters from the high level performances, to the professional sound production, to the intriguing and clever compositions. To my ears Earthside need to work on a more unique sound (there´s very little here that´ll surprise fans of the genre or which sets Earthside apart from other contemporary artists), and a little more raw edge wouldn´t hurt either, but that´s a purely subjective point of view and quality wise, this is a high quality release and a 4 star (80%) rating is fully deserved.

(Originally posted on Metal Music Archives)

You see, in the old days, prog metal was still rooted in the origins of hair metal. Queensryche, Fates Warning, Symphony X, Evergrey, even Dream Theater. All these bands evolved their sound from the 80's hair metal scene and New Wave of British Heavy Metal bands (or NYOBHM for you young hipsters out there) like Judas Priest and Iron Maiden and the power metal genre that emerged from both of them. Most, but not all, based their sound on a wall of noise, usually playing fast as well, while incorporating progressive elements as they went. None of these things are bad, mind you. But these days things are changing.

Progressive metal bands nowadays are emerging from that little "djent" phase from a few years ago, remember that? When Meshuggah went full djent, death metal bands were like "so cool, let's do nothing but this" and turned out just awful crap. Even Meshuggah went too far off the deep end by just repeating themselves over and over again really loudly, like an angry girlfriend telling you what she wants to eat for the 1000th time even though you know what she wants because that's all she ever orders from her favorite restaurant.

But very quickly bands begin to emerge that incorporated djent sounds into their guitars, but sonically went exactly in the opposite direction, focusing more on atmosphere and sound that just straight walls of noise. Bands like Skyharbor, TesseracT, Disperse and Voices from the Fuselage balanced spacey and calm atmospheric and electronic textures with brutal djent chords and walls of distortion, but in a balanced way. They began to move away from screaming and instead allowed the guitars to blend in with the background, let the sound reverberate against itself and just transport you to the depths of space. It's music that balances loud and quiet and entrances you in ways metal never did before. It's a similar feeling with Earthside's debut "A Dream In Static", but different. Allow me to explain:

I first discovered these guys on their bandcamp page and when I saw them describe themselves as composers instead of musicians, immediately I was intrigued. Right away from their opener "The Closest I've Come", this is something completely different. Right away, the electronics in the background hiss and hum as the guitars kick in with a wall of noise. Instantly I'm picturing the vast emptiness of space, but it's not droning. It travels through loud and soft sections, playing off both loud and soft textures to enhance the flow of the music. It also doesn't hurt that guitarist Jamie van Dyck can make his guitar both shred and sing. It's not a huge solo fest, but for an eight minute-long track, it's soothing and settling, and apart from a heavy breakdown late in the song, it's entrancing, close your eyes and let the music take you on a journey through space.

But what amazes me most is the variety of each track. "Mob Mentality" is an absolute blockbuster, with a killer orchestration by the Moscow Studio Symphony Orchestra and some killer vocal work by Sevendust frontman Lajon Witherspoon. It twists and turns like a classical symphony. From soft vocal bridges to operatic passages and soaring strings, it sounds like it's straight from an anime action movie. It's totally different from the last track, it doesn't allow you to settle into one state of mind, it tells a story with ups and downs that ends with an outstanding wall of noise and Witherspoon crooning his way before a dissonant dramatic orchestral stop.

From the sublime to the ridiculous and back to sublime with "A Dream In Static", once again favoring minimal chord changes for an echoing soundscape of reverb and noise with some occasional breakdowns, featuring Daniel Tompkins of Skyharbor and TesseracT, one of my favorite singers today because of his subtle yet commanding and haunting presence, as well as his piercing falsettos. Following that is the soundtrack inspiring "Entering The Light", a mainly orchestral piece featuring Max ZT with a dulcimer feature (when's the last time you listened to a song with a hammered dulcimer solo?).

"Skyline" changes gears a bit by being active in the first half, while slowing down a bit for the second half and creating a 4 over 3 polyrhythm that creates a hypnotic sensation (which features another awesome van Dyck guitar solo as well). The changes between time signatures are fluid enough so as not to ruin the flow of the music and yet the guitars don't seem to overpower as much as you might expect. It's an almost otherworldly feeling as the piano lilts it's motif repeatedly while the guitars sit back on a wall of reverb and the drums just crash away.

It's a similar feeling with "Crater". The guitars just build a wall of noise as the drums build and the bassline moves all over the place before emerging into a silent backdrop for Soilwork frontman Bjorn Strid to come in. This is actually an interesting song for Strid because, even though he does sing quite a bit in Soilwork, his vocal range and abilities are shown more in force on this one song than half of Soilwork's catalog. Only about a minute before song's close does he scream a bit, at the ultimate climax, but his voice is sensitive enough to resonate with the reverb and dissipating guitars during the silent sections, the atmospheric breaks that amplify the main sections. The chorus, like previous tracks, is hypnotic. By maintaining an ever present, but not overpowering, wall of sound, the band just flows atop of it like water, with drummer Ben Shanbrom hammering away before the song fades into an electronic atmospheric haze.

"The Ungrounding" is the most technical song of the lot, right away beginning with the thematic guitar lick and featuring a guitar spot from Henrik Gennert. This is where the band's true instrumental prowess shines, alternating from fast spastic lurches to slower atmospheric catches of breath, it's another song that's hypnotic at times, yet is still busy enough to be interesting. Nothing of the song feels out of place, except for perhaps the dissonant crunches towards the end, but that can also be seen as a breath of fresh air after staying fairly conservative tonality wise throughout the entire album.

But if the previous songs were hypnotic enough, the closer, "Contemplation of the Beautiful" is entrancing enough to damn near put you in a coma. At 11:49, it's the longest on the album, and with plenty of time to set the stage, it's enthralling atmospheric sounds, with a middle eastern sounding violin and an absolutely transcendent performance from Eric Zirlinger of Face The King fame. It cycles between quite meditative buildups and loud, bombastic bursts of violence with Zirlinger screaming like a man possessed. The repeating ascending string melody entices you more and more as it drags on, increasingly getting louder as if beckoning you to lean in closer, like a snake being drawn to a charmer. These sections build for a few minutes before they overflow into bursts of sound and noise before fading as quickly as they build. It's a cycle that repeats for the length of the song, ending with a violin solo similar to the one that began the song, but it's a roller coaster ride regardless.

It's an amazing capstone to an album that, to me, redefined what progressive metal is, what it sill be and what it SHOULD be. This album opened the doors to Skyharbor, TesseracT, Disperse, Being, Voices in the Fuselage, David Maxim Micic, Sithu Aye and many more to me. As a Dream Theater junkie my whole life, the post Portnoy albums have started to underwhelm in recent years and I needed something new to captivate me, and this album came through in spades. Each track provides something new, each track is lively and full of energy, but soothing and docile enough to damn near bring me to tears (and it takes a lot for a song to make me cry, there's a special hall of fame for songs capable of doing that for me). It's another one of those albums that just has no equal. Other bands are imitating the song structures, the chords, the progressions, the wall of noise, the atmospheric interludes, but not in the same way that this band has that keeps each song interesting and fresh so much so that you keep coming back for more. A truly watershed moment that shows the capabilities of progressive metal once elevated from a hairspray and power metal influenced juggernaut to an enlightened classical display of performance art.

Certainly accurate to say that 'A Dream In Static' marks an impressive statement, which regularly leads into crashing guitars all over, as well as punchy bass and powerful drums occuring. The keyboards superficially often seem to lose the game regarding this showdown. Maybe it's a matter of a special consciousness, but after some time of devotion and patience gradually other aspects are coming to the fore. And, by way of variation, there are also moments given which are mirroring a more calm and relaxed atmosphere, for example to name the beautiful Entering The Light with its marching drive here.

So in the end, either way, there is a highly technical approach given by this band. On the other hand though I find this very accessible, while surely melodic, cinematic, in parts even symphonic. A fascinating case in its entirety somehow. The title song is exemplary for that. Daniel Tompkins of TesseracT fame aboard here, headphones required at the latest! And please add The Closest I've Come to your track list too. This album is addressed to prog metal fans above all, but not solely. 'A Dream In Static' is an excellent addition to a well sorted prog collection. Wondering what will follow next ...

I can't help but feel the slightest bit suspicious when a band suddenly explodes the way Eathside has over the course of this past year. There was nary a mention of these guys before they usurped the prog metal dialogue last October with their debut. Now, just a few months later, they're acting as direct support for the genre's present frontrunners on the upcoming North American Leprous tour. What's more; A Dream in Static comes with the kind of massive budget and big-name guest spots you might normally expect from a more established act. With this manner of apparent step-skipping, I almost get the impression that Earthside only saved themselves the years-long struggle working up the ladder because their wallet was big enough to accommodate their ambitions.

Then again, before I heard Earthside's name on the upcoming tour announcement, I heard of them from friends who got up in arms over A Dream in Static as soon as it was released. Much the same way the progressive metal network went ape over Leprous' own Tall Poppy Syndrome several years ago, it didn't take long for A Dream in Static to latch onto its target audience. Most importantly, even if their sudden success is conspicuous, Earthside have the raw talent and skill to back it up. Progressive metal isn't an easy shell to crack as a musician, and their tight execution says more about their experience together than whatever dollar signs they had backing them up.

I could take a positive or negative stance toward Earthside, and I think I'd have sufficiently enough to say in either scenario. My real opinion probably lies somewhere in the middle. Earthside may have a lot of great things going for them. but for all their firepower and heft, A Dream in Static leaves me feeling somewhat dry. No one can doubt their determination when it came to making the album as polished as they could make it, but it also sounds like Earthside took every possible cliche of modern progressive metal under consideration when it came to writing the album. Djenty rhythm sections? Soaring melodic vocals? Bombastic arrangements and misguided symphonic pomp? Check, check, check, check. There are times on A Dream in Static when I feel like I'm listening to a modern metal laundry list manifest as sound. For a genre that's proverbially meant to be constantly pushing the limits forward, it's not a great sign that they constantly see fit to remind me of bands that preceded them.

So much of Earthside's craft feels deadset on impressing the listener as much as they can for as long as possible. While there's nothing wrong about a band pushing themselves to their limits, there's something immediately disingenuous about hearing a mix crowded with djenty chugs and a full-blown live studio orchestra. The use of the Moscow Festival Orchestra on "Mob Mentality" and "Entering the Light" has its moments (particularly on the more atmospheric latter track) but I never once feel like the symphony was employed as more than a display of some vague musical ambitions.

It's kind of ironic that Earthside actually make their best strides when they streamline themselves a bit. While they're clearly skilled as composers, their ambitions outstretch their reach with the most involved pieces. To contrast, they make great strides when they tighten in the reins. "Entering the Light" is a fantastic exotic instrumental that basks in the spaces between notes that may had otherwise been filled with sound on other tracks. Earthside offer up their best songs for the likes of their guest vocalists. Daniel Tompkins (TesseracT) and Björn Strid (Soilwork) each cover some fantastic range on "A Dream in Static" and "Crater" respectively. Tompkins' soaring chorus work towards the end of his spot is easily the most spine-chilling moment of the album for me. Earthside's own vocals are very solid as well, following the similarly melodic form of their guests. They've got a surprising skill with working melody into their work; I only wish more of the album had reeled in on that strength.

This is a mixed bag kind of impression, really. Earthside see fit to exemplify the polished place where modern progressive metal has settled. They've got plenty of skill, but aren't quite clear on how to wring the best out of their potential. They're clearly ambitious, though I it would be more accurate to wrap ironic quotations around that word; they are ambitious, sure, but they're not grasping at heights any higher than their peers. When all is said, I know Earthside have the best possible intentions at heart, but their apparent urge to amaze the prog community limits their potential to emote and connect on a more human level. This isn't a problem faced by Earthside alone, but modern prog as a whole. It's to their credit that they do what they do slightly better than many of the other bands to come out recently.