THE MALEDICTION FIELDS

1. "Exiles Journey" (8:08) a truly engaging introductory piece: atmospheric and melodic turning into frenzied black metal while maintaining distinctive instrumental representation throughout. Great touch, those synths, acoustic guitars, and choral vocals. And the growl voices have an almost theatric effect in their unique contribution. (14/15) 2. "A Witness to the Passing of Aeons" (7:07) sounds as if it should come from some horror film soundtrack, but then that B part! What an awesome wall of sound! (13.5/15)

3. "Colossal Voids" (8:32) opens in such a pleasant, almost-Neo-Prog way! Even the growl-less vocals are, I have to admit, a surprise. One-time lead vocalist Grungyn" (Adam Allain) does not have the control or experience and command that brother Frank has; his voice is pleasant but weak (which is probably why it's been mixed so deeply into the music). There is a touch of Post Rock in the way this song slowly builds to its crescendo in the sixth minute. The post-coital malaise that follows is unexpected, but then things quickly amp back up for the second dénouement before finally slowly decaying into its dreamy weave of arpeggiating treated piano and guitar. Nice! A little more flawed than the previous two songs but, at the same time, more adventurous and creative. (18/20)

4. "As Buried Spirits Stir" (6:58) straight black metal delivered in a straightforward way. (12/15)

5. "The Warren" (7:10) opens with two minutes of étude-like instrumental threads weaving their way as if a folk or Celtic song. At 3:15 there is a breakdown and shift in tempo and sound palette, using arpeggiated guitar and e-bow lead to build another minimalist weave before drums, bass, and growl vocals jump in at the five-minute mark. Reminds me of Viking death metal--or Einar Selvik and Ivar Bjørnson. (13.25/15)

6." Lashed by Storm" (8:54) seems to quick-rise out of the ashes of the previous song, quickly establishing its quick pace, thick guitar-laden walls of sound, and growl vocals. Synth lines become more prominent with the second verse. Great chord progression in the instrumental interlude in the third minute. Quiet interlude of sparse, arpeggiated instruments (two guitars, bass, simple drums) in the fourth minute. This then slowly builds with more independently directed threads from each of the instruments until some vocal satisfaction growls signal a switch into more metallic sounds and quicker pacing. As the band achieves full return to walls of sound at 6:30 the growl vocals return, returning to verse singing as in the beginning. The final 90 seconds sees an unexpected return to melodic chords and "normal" voice singing (from, I believe, Grungyn). Interesting and, I have to admit, totally unexpected song development/twists and turns. (17.75/20)

7. "Bereft" (11:49) the song with, in my opinion, the most "shoegaze" sound that will become so integral to their wonderful next album, 2010's Epoch. Even the bass lines remind me of something from RIDE or Simon Raymonde. Tempo and key shifts as well as shifts in sound palette continue to impress and make this album one of the more remarkable heavy prog albums of the Naughties. At 7:40 everything drops out and becomes atmospheric and beautiful, but then "The Watcher" reenters with his growl vocals for a minute or so before he fades out and the synths and arpeggiated guitar chords take us out gently. Wow. Nice. (22/25)

Total Time 58:38

B+/4.5 stars; a surprisingly refreshing album--one that portends great things for this creative band--and excellent addition to any prog lover's music collection.

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