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There may have been a period when progressive metal was silent. Although there lurked enough Dream Theater clones out there at one point to have me thinking the genre may have died out, the last few years have been host to an inspiring renaissance of prog metal. With his band Destiny Potato and a strong solo career of his own, Serbian multi-instrumentalist David Maxim Micic has been contributing in his own way to the progressive metal revival. Hearing about his recent opus Bilo 3.0 through the recommendations of a few kindred proggers, I can't help but to forward the recommendation along; to anyone with a vested interest in the current state of progressive metal, David Maxim Micic deserves to be heard. Well composed, arranged and wonderfully performed, Bilo 3.0 is an ambitious piece of largely instrumental prog metal, with more than enough epic ideas to keep a listener engaged and attentive.
I was reminded of Devin Townsend's solo material many times throughout Bilo 3.0, an artist to whom Micic owes a great deal of his sound and style. "Where is Now?" has an epic central theme that sounds like it could have been inspired by Devin's Accelerated Evolution or the more recent Epicloud album. Some of Micic's most cinematic movements on the album have that same 'wall-of-sound' ambiance that Townsend is so famous for. Much more than mere emulation however, Micic does here what Jari Mäenpää of Wintersun achieved with Time I, that being the taking of ingredients first trademarked by Devy himself, and orchestrating them in new and inventive ways. For one, Bilo 3.0 capitalizes on jazz fusion much more than anything you'll hear from Townsend, and there are many points on the record that draw upon instrumental rock tradition a la Satriani. Many of Micic influences are readily apparent in the music: a prog metal lick on "Smile" instantly recalls Cynic, melodic jazz guitar on "Nostalgia" might be inspired by Pat Metheny, and the much-familiar presence of 'djenty' rhythmic explorations demonstrate an ample knowledge of contemporary progressive metal.
Suffice to say, there is more than enough of a variety to keep the music from sounding stale or rehashed. Although Micic's true calling lies in melody-driven progressive metal guitar, the stylistic curveballs here are fully-realized and sound great. "Everything's Fine"- the album's gentle opener- is an excellent example of Micic's skill as a multi-faceted composer. Jazz- tinged piano and a haunting string section weave together to sound like something plucked from a film score. With that being said, there is a very cinematic feel to Bilo 3.0, not surprising given Micic's background as a composer for TV and film. Although each track feels well-realized, Micic definitely feels more like a composer of strong ideas, rather than a songwriter. With the exception of the near-perfectly written introductory track, each composition on Bilo 3.0 is memorable for their stand-out moments, rather than the track as a whole. Song structures seem arranged to cater to a string of individually satisfying moments, as opposed to the ideas all contributing to the overall whole of a composition. Even in the most ambitious progressive metal epics, I tend to look for some of the same qualities found in conventionally good songwriting; effective repetition, moderation, and the impression that a composition has been designed with the wholesome end result in mind. This is not to say that Micic's work is rhapsodic or even structurally unsuccessful, but it does feel like the compositions bite off more than they can effectively chew. "Smile" is the worst offender of this, trying to include everything from Townsend-friendly playfulness, virtuosic guitar soloing, djenty rhythms, growls, operatic wailing, fusion licks and everything in between. I know it's a pretty common tactic in progressive music to draw upon such a wide variety, but I'm left with the impression that some of the ideas on Bilo 3.0- the operatic break on "Smile" and a child's off-key crooning on "Daydreamers" particularly- could have been left out, or at least rearranged so that they better compliment the flow of the compositions they're part of.
Especially on an album as instrumentally-driven as this, no review of Bilo 3.0 could go without mention of the musicianship and technical skill. Obviously, much of the spotlight is placed on Micic's prodigious grasp of the electric guitar. Although the album's djenty side doesn't stand any bit above what we've already heard from that corner of prog metal, Micic makes himself out to be an absolutely brilliant jazz fusion guitarist, possibly one of the best I've heard. "Nostalgia" might be my favourite trackon the album for this very reason; Micic's marriage of keen instrumental wandering and tight melodic passages is gorgeous, easily rivaling similar-sounding tunes by Satch or Metheny. While I'm sure many listeners will have found out about David Maxim Micic via Jeff Loomis' presence on the album as a guest soloist on "Smile", I honestly can't say that Loomis plays anything here that couldn't have been easily conquered by David himself. However, this is more of a compliment to Micic's own skill as a guitarist than Loomis' solo, which is just as expressive and technical as I've come to expect from him. Micic excels as a shredder, jazz player and writer of melodies; there doesn't appear to be any aspect of the electric guitar that eludes him. Having Loomis guest star on an album is good reason to get excited about it however, and if his appearance earns Micic more listeners, then all the better.
Bilo 3.0 is an album packed with instrumental inventiveness and technical proficiency. David Maxim Micic excels here both as a composer and musician, and he's surrounded himself with a talented cast of musicians to help him bring his dream to life. For all of its musical high points, Bilo 3.0 still feels a little rough and patchy with the way songs are structured. Like so many talented solo artists, Micic is burdened by overambition, wanting to tackle too many different ideas without the time to give them all their due. I have no doubt that we'll only hear Micic improve with time however, and if Bilo 3.0 is to be a sign of even greater things in the future, then there's no doubt I'll stay tuned in to hear what he does next.
Creating a fiercely evocative and tempestuous soundscape within the exploration of lucid dreaming and dream phenomena, UK instrumental band Telepathy unleash new album 12 Areas to dramatically incite senses, imagination, and emotions. The seven track album is an uncontrollably immersive enticement, a release which can seamlessly and skilfully move from seduction to brawling within the taking of a breath, all the time igniting intimate thoughts and feelings. The enthralling album charts the progression of an imposing dream and the levels of sleep states the mind experiences therein, dark shadows and at times torments within investigated but also the release casts suggestive provocation which can be translated to avenues within awaken states and emotional turmoil. The release is a breath-taking and at times demanding encounter which places Telepathy on a whole new plateau.
The band’s debut EP Fracture in 2011 alerted the metal world to the presence of the Colchester and Rewa hailing band, it’s unveiling of sludge and doom infused post metal sound drawing immediately eager attention. Their emergence was given greater potency by their live performances, which has seen the quartet play with the likes of Latitudes and Downfall of Gaia. The single Lucretius in 2012 again added extra fire to their increasing reputation but it is fair to say that the James Plotkin (Khanate, Old Man Gloom, Isis, Cave-In) mastered 12 Areas is a gripping and compelling big step forward in not only sound but stature. Infusing greater elements and essences of atmospheric and progressive metal into their instinctive sound, the album conveys a vaster landscape of technical and provocative sonic colour to their already thick and heavy canvas of sound. At times intensively debilitating and in others invigoratingly caring, the release sets a benchmark even they may find hard to surpass in the future.
{Hypnos} opens up the journey, casting a slow and uneasy fall into unconsciousness as the investigation by the album begins. From peaceful and elegant guitar designs courting a gentle coaxing, the track grows darker and more intimidating. Intensity brews its threat and unrest along the short piece, never thrusting its shadows over the senses but certainly making them aware of an impending emotional maelstrom which Saccade soon delivers. The track erupts with a horde like attack of riffs but soon tempers their charge enough to entangle the urgency in a web of incendiary guitar enterprise and eventful endeavour. The swiping sinewed rhythms cage off any escape whilst the bass brings a rapacious intent which only darkens the climactic scenery of the song further, but it is the twisting guitar narrative and evolving sonic antagonism which sends the imagination into a spiral of adventure and reflection.
The intrusive expression and almost erosive sonic palette of the song evolves further with the following Cystine Knot, its poetic melodies and predatory challenge a fuse to a conflict of light and dark, both carried on a flume of creative and technically gripping imagination. The heavy merciless element of Telepathy’s sound stakes its place within the tempestuous encounter, making intensive proposals which ensures that even in the radiant and absorbing melodic passages of safety and respite s lingering resonances are there watching on from distant shadows. As across the release, the individual skills and poise of the band is engrossing whilst their united furnace of intent and craft lays irresistible seeds which bloom to intensified raptures.
Sleepwalker slips into view on its own emotive ambience, the initial coaxing a potent enticement but one flirted with by twisted sonics and reserved menace. The moment to voice their toxicity is soon upon the senses though as the track spreads it’s captivatingly welcoming and equally threatening arms around the body; every thought, emotion, and spark of the psyche doused in mesmeric venom of sound and ideation. Though the piece ebbs and flows in its pressure on the senses, the track is a constant surge of striking and intrusive peaks which permanently spark like torrential crescendos.
The next up Breath-Motion provides another immense pinnacle on its way to taking best track honours. From its opening peace and ambient seducing, the track carves out a furrow of raging intensity and predacious ravaging within a spellbinding melodic and sonic web which cradles and wonderfully tempers the corrosive beauty of the track. Once it has full attention and control of its recipient’s mental and emotional state, the track begins stalking and chewing on its victim with insatiable invention and rigour, all the time creating a mouthwatering slavery of technical mastery and explosive passion. The track is sensational providing new torments and discoveries with every exploit within its cauldron of sound and ingenuity, something you can apply to all songs to be fair.
The brief but rabid distressed suffocation of {Deluge} paves the way for the closing creative swamp of To Kiss The Ocean’s Floor which expressively and commandingly gives the album a tumultuous finale in sound and overwhelming anxiety. It is a simply a tremendous end to an outstanding proposition. There are moments across the album where thoughts find loose comparisons to the likes of The Ocean, Abysse, and Pelican but Telepathy definitely sculpts something decisively unique to them, a proposition on the evidence of 12 Areas which will see the band become a very sizeable incitement ahead.
12 Areas is available on CD and transparent green/blue 12″ Vinyl via Devouter Records and as a Buy Now Name Your Price download @ http://telepathyband.bandcamp.com
A strange story for a strange band: instrumental duo Temple self-released ‘On The Steps Of The Temple‘ over a year ago, then a little later Prosthetic Records picked them up and the resulting contract did not only leave the band with the new release date of January 21st, 2014 but a name change as well: Temple went from Temple to Tempel as a result of an intellectual property conflict with another band. But it matters not. The only things that are important here are the devastating song writing and mastery of sound that lie on the steps of Tempel. Their goal: to lead you on a dark trip through golden skies, over strange angular mountains, and past twisted brambles to reach the temples depicted on the cover. The fact the band hails from Arizona will not surprise the reader after getting to know the descriptions of Tempel‘s music. Indeed: it is impossible to describe this album without resorting to synesthetic pursuits, so prepare.
Now, there is one thing to be very clear about: Tempel is not your average instrumental band, and ‘On The Steps Of The Temple’ is definitely not your average instrumental album. It has character in spades, does not lose itself to hopeless technical exercise and manages to keep your attention firmly fixed on the journey the band unfolds. Contrary to what you might expect from six instrumental songs of which five reach into the ten-minute range, this instrumental album never loses its momentum.
Tempel mixes black, doom, post and a few death tones but not by inserting them one after the other or taking a few standard riffs of each. Instead, the sounds of the genres are mixed, creating a sound that’s utterly new and better than the sum of the genres. A grainy guitar that synesthetically speaking sounds just like the brambles on the cover underlines every riff, while chiming guitar embellishments with a sound as golden as the album cover sky raise the atmosphere. Underneath all this bass riffs and complexities amplify the other sound elements. There are never too many overdubs, but always enough. Interestingly, the skeletal drums have a vague touch of that mixed-in quality of Electric Wizard’s ‘Come My Fanatics’ while retaining their heaviness.
The dynamic duo use darkness as a means to an end. They want to lead you through darkness, not just into it. Every song has, at its core, a build up to ever heavier face-slashing freakouts that usually end up in mournful golden beauty. And yet, each song has its own character, from guitar tones to structure. Sometimes the golden beauty is constantly in the background, sometimes it’s interchanged with darkness in start-and-stop build-ups and sometimes it’s the whole point of the song (see ‘Final Years’, the album’s only song totally devoted to melodic and chilled out mournful bliss). From the doom-inspired ‘Mist That Shrouds The Peaks‘ to the meandering riffage of ‘On The Steps Of The Temple‘ to the Treasure of the Sierra Madre-infused (and personal highlight) ‘Avaritia‘, they all vary wildly from the sounds used to the placement of riffs, freakouts and golden beauty parts.
The lack of a vocalist and accompanying spoken themes is turned into an abundance of instrumental character and a gift for storytelling with dynamics that are both mesmerizing to hear. Highlights abound, with this reviewer taking a particular shine to ‘Avaritia‘ because of its utterly shattering dark melodies. And those solos! This must be the music Erich Zann was playing in that one concise story in which Lovecraft managed to detain his over descriptive tendencies.
Overall, this album is a testament to the power of instrumental music and to the fact that interesting songwriting and interesting tones will always prevail over displays of technique and amp-worship alike. Character over gimmick, dynamic over spoken theme. Tempel are masters of atmosphere, and I hope the band will continue to develop and come on even stronger and more unique by the time the next album gets pressed.
Talented guitar playing is nothing without substantial song writing to back it up. This is something that YouTube shredders with bands they always link to in the description of their covers of impossibly hard songs by more famous bands don't seem to understand, but Sithu Aye gets perfectly. His ridiculously complicated and noodly guitarwork can be found all over his new EP "Pulse", but always serves as a compliment to an already interesting main structure. His jazzy and smooth solos go well with the uplifting atmosphere his songs are pushing, making his songs sound like Weather Channel material while still remaining energetic and full of life. Pulse isn't in any way a departure from his signature sound, continuing the vibe that last year's "26" and the Plini split EP carried, but it's possibly the most vital and inspired interpretation of that sound that he's pulled off so far.
The two parts of the title track seem to be a throwback to his two previous LPs, containing more "djenty" ideas and the use of eight string guitars, but are much more well done and catchy than anything on those albums could hope to be. The mid section is more focused on faster, jazzy jams that hit you just as hard as they soothe. "Messenger" is head bobbingly relaxing, even as it assaults you with insane guitar solos from Aye and Intervals guitarist Aaron Marshall; "Shiny" is almost straight jazz fusion and works wonderfully as a middle track, and "Lights! Camera! Explosions!" is frantic and bursting with melody. There is no dissonance here in any capacity, which may contribute to the songs slightly blending in to each other. It would have been interesting to see Sithu try his hand at something more violent to the ears, especially with his material being billed as metal; the crunchy guitar tone here is the heaviest thing about any of these songs. But melody will likely always remain Sithu Aye's strong suit, so he can't be faulted too much for sticking to it.
Pulse is relatively homogenous sounding, flowing almost too well from one track to the other, but this isn't necessarily a bad thing. This is a release you can either absorb in full, taking in every note and bend, or leave comfortably in the background. It's rewarding on both levels, so grab it if you've got some major studying to do, or if you've had a stressful day and just need to immerse yourself in something. Hopefully Sithu will make more of an effort to provide more variety on his next release, but until then, Pulse is an admirable advancement of his "happy progressive metal" sound away from a certain stale low-tuned approach, and a more than worthwhile entry into his ever-expanding discography.
Hello and welcome back to the Bandcamp Buried Treasure article series, where I'll be hunting down Buy It Now/Free Download-payment option albums on Bandcamp by the best bands you've never heard! The goal is to introduce you to smaller bands or obscure side-projects you might not have heard of. Anything to expand your musical horizons by just a little bit each week, all while keeping your cost (potentially) down! This week we'll be listening to Serbian-born guitarist and composer Alek Darson!
Sometimes in my wanderings around the Bandcamp website I'll come across an artist that I simply cannot believe hasn't been shown to me by that point. An artist that displays such immense talent that the sheer fact I haven't seen them on my Facebook's news feed or messages feels like a little bit of a travesty. Obviously it's easy to dismiss this introduction as overblown copy that's trying too hard to sell you on some record, but I'm being genuine right now. Alek Darson's Panopticon is one of the best records you haven't heard this year.
Initially I wanted to call Darson's record something along the lines of "guitar music," but the more I listened the more it dawned on me that it wasn't really guitar music. This is something I could put on in the car with anyone who even has the most base appreciation of good music and they'd enjoy it. Be it the little chromatic melodies reminiscent of the Final Fantasy game series in "Flight Impressions," the big fat chunky grooves of "Sprockets" that burst into Steve Vai-esque whammy bar dives, the odd funkiness of "Waltz of Titans" that slowly devolves into an ambient classical piece, or just the odd dimensions and dynamics of "Spiral of Sanity," there's legitimately something for everyone on Panopticon. It's so much more than music that was composed solely for the purpose of excessive guitar-related masturbation. Panopticon is a small collection of musical pieces that were written with structure and overall enjoyability in mind, and that intention shows.
Then there's "The Rind," which is exactly what would have ever happened had Symphony X, Pagan's Mind and Vivien Lalu got together for a weekend and hashed out just one track (and there's vocals). It's an insane dance through twisting corridors of ever-changing instrumentation, stop-and-go riffs, 90's Dream Theater-sound sections, and enough progressive metal nerdiness to make any fan involuntarily drool.
There is zero reason you should have hit the above play button on Panopticon and did not immediately scramble to download the record. Oh, and take the time to figure out the puzzle for the hidden sixth track "Fingers Painted Purple." It's downright amazing and worth your time, I swear
Joined: August 22 2010
Location: Indiana
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Points: 20468
Posted: May 27 2015 at 14:18
Rednight wrote:
I have not a one, curiously.
I don't have any true 'progressive metal' either....never been much of a fan, but I am a fan of Porcupine Tree who I don't think are truly prog metal .
Joined: December 23 2009
Location: Emerald City
Status: Offline
Points: 17496
Posted: May 27 2015 at 15:56
Jared wrote:
Catcher10 wrote:
Mind Key~Journey of a Rough Diamond
Great to see that one get a mention... have you heard Vision Divine's 'Stream of Consciousness'? it's surprisingly good and certainly for MK fans...
I really enjoy Mind Key.....After Marco Basile left, something was lost to me. I don't like much Aurelio Fierro, too much like LaBrie. Pulse For A Graveheart was disappointment for me. I will look up VD, never heard them before, thanks for the tip!!
Joined: May 06 2005
Location: Hereford, UK
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Posted: May 27 2015 at 16:15
Catcher10 wrote:
Jared wrote:
Catcher10 wrote:
Mind Key~Journey of a Rough Diamond
Great to see that one get a mention... have you heard Vision Divine's 'Stream of Consciousness'? it's surprisingly good and certainly for MK fans...
I really enjoy Mind Key.....After Marco Basile left, something was lost to me. I don't like much Aurelio Fierro, too much like LaBrie. Pulse For A Graveheart was disappointment for me. I will look up VD, never heard them before, thanks for the tip!!
Mark Basile has a great voice. He now plies his trade with DGM (their last two, Frame & Momentum), but while they are both accomplished Melodic Power Metal albums, they just don't have the same variety and interest for the prog fan as MK. VD's trio of albums with Michele Luppi's incredible vocals (commencing with Stream of Consciousness) would certainly hold the interest... they are superb.
Music has always been a matter of energy to me. On some nights I believe that a car with the needle on empty can run 50 more miles if you have the right music very loud on the radio. Hunter S Thompson
Joined: December 23 2009
Location: Emerald City
Status: Offline
Points: 17496
Posted: May 27 2015 at 16:20
Jared wrote:
Catcher10 wrote:
Jared wrote:
Catcher10 wrote:
Mind Key~Journey of a Rough Diamond
Great to see that one get a mention... have you heard Vision Divine's 'Stream of Consciousness'? it's surprisingly good and certainly for MK fans...
I really enjoy Mind Key.....After Marco Basile left, something was lost to me. I don't like much Aurelio Fierro, too much like LaBrie. Pulse For A Graveheart was disappointment for me. I will look up VD, never heard them before, thanks for the tip!!
Mark Basile has a great voice. He now plies his trade with DGM (their last two, Frame & Momentum), but while they are both accomplished Melodic Power Metal albums, they just don't have the same variety and interest for the prog fan as MK. VD's trio of albums with Michele Luppi's incredible vocals (commencing with Stream of Consciousness) would certainly hold the interest... they are superb.
Awesome!!! Will go get some DGM, agree Basile has a great voice
Joined: February 03 2007
Location: .
Status: Offline
Points: 16913
Posted: May 27 2015 at 18:23
Nice to see Pax getting some mentions....I did some digging a while back and they have officially hung it up. But there was some kind of odds and ends posthumous release coming, I haven't had time to pursue it though.
Joined: October 09 2005
Location: Entropia
Status: Offline
Points: 16449
Posted: May 27 2015 at 19:59
twalsh wrote:
When did Haken and Porcupine Tree become metal? Great bands, both, but barely brushing the edges of a metal sound.
Haken have always been a prog metal band in the Dream Theater mold, just with a more quirky edge to them. I've never remotely understood why the band was added to Heavy and not PM.
PT have never remotely been metal though.
Finnforest wrote:
Nice to see Pax getting some mentions....I did some digging a while back
and they have officially hung it up. But there was some kind of odds
and ends posthumous release coming, I haven't had time to pursue it
though.
I can't say I'm surprised, I knew they'd been working on a third album but it's been years since anything had been heard about it and they were always a collective of artists, with the music only being one part of their output. Given that they survived on donations, giving the albums away for free, and that they wouldn't always have been fully focused on the music side of things probably means Blessed was more of a lucky perfect storm when they got everything right than anything else. One of my absolute favourite albums though.
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Posted: May 27 2015 at 12:11
Progressive Metal Albums!
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'Bilo 3.0' - David Maxim Micic (8/10) 
