A DREAM IN STATIC

US band EARTHSIDE is a fairly recent addition to the ranks of metal bands with a desire to explore territories with more of a progressive intent. They have been in existence in some form or another since 2012 or thereabouts, and appears to have taken the time needed to hone their craft. "A Dream in Static" is their debut album, and was self-released in October 2015.

The band describes their music as cinematic rock, and while that is an apt description on some levels, it doesn't at all indicate the width and scope of the material they produce and the depth of the landscapes they explore. The description metal needs to be applied for starters, and for those who associate cinematic with careful, unobtrusive soundtrack quality music, well, this isn't it. If one were to describe this production as one that contains an elaborate form of modern progressive metal with cinematic touches you'd probably be much closer to the greater reality here, and one might add that this is an album with something of a zeitgeist feel to it as well. It's most certainly a product of this specific period in time, a creation that couldn't have been made 5 years ago.

Massive, monumental and booming guitar riffs ebbing and flowing in intensity and pace is a key feature throughout, with room for both aggressive pounding riff attacks and quirkier, unpredictable riff constructions. Most times alternating with sequences with much more of a careful expression, ranging from frail plucked guitar and piano motifs in a dual fragile harmony to more dramatic orchestral textures, the latter with a tendency to build in intensity and transition smoothly back into one of the numerous distinctly metal-based themes explored. Classic progressive metal themes with guitars and keyboards isn't a style you'll encounter too often here though, if at all, but indie-flavored sections with a sound not too unlike Radiohead (if they played metal) is one feature here, and on the other end of the metal scale we find massive. dark and subtly djent-tinged riffs as a bombastic presence.

The use of orchestral details does add a few additional aspects to this production, both when used in the gentler passages as well as when deployed as supplemental features for the various riff-dominated metal runs, much the same can be said about the m ore careful piano, guitar and electronic details liberally used to flavor the soundscapes. An additional details that is a strong identity mark here is the use of nervous, intense light toned guitar textures, adding a distinct touch of post rock to the proceedings. That many of the compositions at the core is built around an ebb and flow movement rather similar to one of the more common approaches by post rock bands adds a certain emphasis to that aspect of the sound and style explored by Earthside, so that post metal may arguably be a better indication to what this band is all about, even if their take on that style isn't all that similar to what most bands described as post metal sounds like, at least from my personal and admittedly limited experience in such matters.

"A Dream in Static" comes across as an excellently made album, where the compositions are well thought out, the recordings mixed and produced to a high level of excellency, and all the compositions sports a massive amount of detailed arrangements it will take a few listens to get accustomed to. It's also a rather challenging production due to this, at least if you are the kind of listener that prefer to listen to your music with full concentration. My impression is that this is an album that demands that approach too, to get a grip on everything that is going on and ongoing here. A quality CD of contemporary progressive metal, flavored with cinematic effects and defined post rock details, and one worth checking out if you think you'll enjoy a fairly challenging but well made album's worth of that kind of music.

I was drawn to this when I saw a Moscow(?) Studio Symphonic Orchestra listed in the credits. As is the case with how prog stuff from my country reaches Western audiences I am oblivious how this came to be, but the idea of an American band using an apparently Russian orchestra in the current geopolitical environment seemed cute.

Anyway, Earthside are mostly instrumental, combining heavy riffs with dreamy and dramatic atmospherics ("cinematic", is how they call themselves). But they do this not in a monotonous, depressive or minimalistic way, but in a rather dynamic, heavy and densely layered way. being more than half traditional prog metal and less than half post-rock. They also neatly incorporate an orchestra into some songs and rougher edges in others. The band doesn't have a proper vocalist, and in the few of the vocal tracks use guests from other bands. The best tracks are instrumental, as they show the true colours of the band, while the vocal ones are too tailored to guest vocalists' own bands (A Dream in Static, for example, draws heavily both from metal and synth pop, like TesseracT).

*Originally written for theprogmind.com*

If you follow The Prog Mind on Facebook, you've seen me posting about Earthside for quite some time now. I honestly wasn't sure if I'd ever see the day when their debut album would finally release, but here we are! 'A Dream in Static' releases on October 23, 2015. I'm not sure that anyone realizes how much this album really means to me. You see, I've been following this group of musicians for a long time now, since probably 2008 or so. I've been there through all their side projects and name changes and EPs: Hell, the band used to send me individual tracks via email simply because I loved their music so much. So, even though I'm not sure if the guys remember me or not, I was that enthralled nerdy guy that somehow discovered their music by sheer chance and simply couldn't get enough. So, in a nutshell, getting to hear the finished product is something of an event for me. It's a big deal!

Fast forward to 2015, and Earthside look to be taking the music world by storm. I didn't say 'progressive music world' because these guys are popping up everywhere, even on Yahoo Music. It does my heart good to see these guys getting much-deserved praise and incredible reviews. But, at some point, the music needs to speak for itself. With all my expectations and all the hype surrounding the release of 'A Dream in Static', does the music really capture my imagination? Yes, absolutely.

The 'guys' I keep mentioning are Jamie van Dyck (guitars), Frank Sacramone (keyboards), Ben Shanbrom (drums), and Ryan Griffin (bass). These guys are top-notch musicians in ways that I didn't even realize myself. After fine-tuning their sound, they have crafted a band that transcends genres, from progressive metal to symphonic metal to heavy prog to alternative rock. Earthside is poised perfectly at the crossroads of various styles, and manages to master them all. Jamie blesses us with his guitar expertise, using everything from heavy riffs to shoegaze to something akin to djent. Frank's signature is all over the album, as his style of keyboards is very recognizable for me. Sometimes he drives a song, other times he is the contrast to the odd signatures and heaviness, and other times he can be found matching Jamie note for note in depth and speed. Ben and Ryan give us what is probably the best rhythm section of the year, though they are far more than that. Ryan's bass is intense and pulsating, and Ben's, oh my goodness, Ben's drums are the best I've heard this year. Tasteful, immense, and kinetic, Ben's style is simply an adrenaline rush (see the end of 'The Closest I've Come') that makes sense but also challenges my mind.

Let's talk about the album itself. You can tell through all my flattery here that I really have high regard for their abilities. I was shocked, however, by the quality of the actual songwriting. 'A Dream in Static' is an eight track album of the highest standard, each song being its own masterpiece. Songs are written with clarity and inspiration in a way that I haven't heard much this year. Even though the song structures are incredibly complex and even though the technical level is a 10, each track stills sounds cohesive and purposeful. 'A Dream in Static' is an album of satisfying textures, dynamic contrasts, surreal space, and invoked colors. In other words, it's art of the highest order.

You may have noticed the absence of a vocalist in their line-up. Earthside utilizes the voices of several well-known vocalists, including Lajon Witherspoon of Sevendust, Bjorn Strid of Soilwork, Daniel Tompkins of TesseracT, and Eric Zirlinger of Face the King. So, think an instrumental album that more or less alternates between instrumental tracks and songs with vocals. This is an awesome balance, as you never feel like you've gotten totally lost, not to mention the fact that each track feels unique. You will definitely not have trouble hearing where each track starts and ends. Each track is like an event in and of itself.

Emerging from the ascending, climactic nature of the 'The Closest I've Come', the album moves into 'Mob Mentality', a song led with fervor and power by Lajon. This track is classy, catchy, and simply elegant, especially with the massive strings courtesy of the Moscow Studio Symphony Orchestra. It's a breathtaking song that rides the edges of alternative rock and progressive metal, but it leads into the title track which is just as stunning, though in different ways. Melodic, emotional, and brilliant, 'A Dream in Static' is sung by Daniel Tompkins, featuring a huge chorus. Next is an instrumental track called 'Entering the Light', presented to us with a dulcimer leading the charge. Yet, it reflects the softer, more fragile side of the band, and I certainly hear some familiar melodies in there, being an old fan.

The second half of the album is incredibly successful. Beginning with the crazy metal instrumental 'Skyline', the album moves into 'Crater', sung by Bjorn. Soaring the heights of the guitar range, the track shows us Bjorn's melodic side and his incredible range, too. His performance is literally flawless. The album ends with an instrumental called 'The Ungrounding' and the longest track 'Contemplation of the Beautiful'. The former is a balls to the walls tech fest that is simply divine, while the latter features Eric on vocals and what I grasp as a darker, mental type of approach. It really is pensive, almost in a maniacal sort of way.

From that track rundown, know that each song sounds completely different. This isn't an album of 10 ways to create the same riff or some such nonsense. No, Earthside writes music that just feels right in my gut. They charge forward in a way that makes me trust them with the destination. In fact, their music is the type that makes me drop my reviewer ears so that I can just sit back and enjoy the show. Yes, they have managed to create a style that makes you feel something, even in the midst of the technical fireworks. The artwork for the album shows this, too, as I can't look at it without a swirl of thoughts and emotions hitting me.

What has this band achieved, then? I mentioned earlier that they transcend genres, which is true. However, I personally see Earthside as a new sort of progressive band. No, they don't take primary inspiration from the classic prog sound (thank goodness), and, even though they get compared to Haken sometimes, they were around before them. Indeed, with the choices in vocalists, this album appeals to the nostalgic side of me, remembering the music I listened to in high school. The more underground sorts of modern or alternative rock that I loved back then (including Sevendust) always had something that held them back. In Earthside, the forward thinking and ambitious voice of alternative rock/post- grunge has finally been unleashed, complete with orchestras, progressive structures, and mind-blowing moments. Intact, however, are the raw emotion, the personality, and the accessibility. All of this is a difficult balance that Earthside pulls off somehow. Don't ask me how.

'A Dream in Static' is an album for everybody. Cinematic in scope, personal in its quiet moments, and simply beautiful and monolithic in tone, this is an album that will be remembered for a long time. High quality production values, an amazing mix, and surreal art are all added bonuses. These guys have poured their blood, sweat, and tears into this ominous album, as evidenced by their inspired writing and stunning performances. It has been their life for several years now. This album truly is a special part of them being put on display, and their dedication is obvious. And I appreciate every second of it. Earthside, from a long time fan, you have truly made me proud.

Cinematic metal? Yes please!

A.k.a. what happens when you take four hungry metallists freshly graduated from music college, ready to rumble and tear up the progscene by taking some first-class metal riffs, combined with tasty orchestral arrangements being wildly orchestral enough to remind you of Burton's Batman movie scores, and invite a range of guest vocalists to be the cherry on top. You will get something which might make you want to re-consider what progressive music is. And the fact that this comes from four "rookies" (mind the speechmarks) having only their first album out, deserves five stars.

We are looking at a fairly complex album here over the sixty-minute-mark in length, which will not let you be bored. The first track (The closest I've come) throws you at the deep end right away with some tasty progressive rock riffs, cleverly setting the scene for the next song, being the album's first single also, Mob mentality. This song, which was scored out entirely by one of the band members to invite the Moscow Studio Symphony Orchestra on stage, shows you what I meant by "cinematic metal", and undeniably draws inspiration from some contemporary movie score composers such as Danny Elfman, as well as maybe even Metallica's S&M. Other songs to stand out would be the equally cinematic Entering the light (featuring a more than tasty progbit again right in the middle), and my personal favourite, "Contemplation of the beautiful", which could easily go along with any movie as score ? of course just until the powerful refrain blows up in your face like a ticking bomb. The rest of the song is then nothing but a wild rollercaster-ride between these two ends, closing the album just as beautiful and wicked as it gets.

With all this being kept together by some amazing mixing, Earthside achieves already with its first album what many bands never will. The only thing I need to bring up against the album is the fact that their reach with this musical complexity sometimes exceeds their grasp, however I am sure this is a mistake they will easily correct with their next album, taking this to a whole new level ? which is something to already look forward to.

Highly recommended masterwork of modern progressive metal, with touches of classic prog, post-rock and electronica. The production is immaculate, fully absorbing and deeply satisfying. The centerpiece here is "Mob Mentality" (#2), which amounts to one of the most impressive combinations of orchestra and rock band. The use of different vocalists is also very rewarding, and makes the listening experience even more interesting. The compositions are deep and thought-provoking, the lyrics brooding and philosophical, and the vocal performance (especially from Lajon Witherspoon) is exemplary. I rate "A Dream in Static" as one of the best prog albums of 2015, and also one of the best concept albums in recent years. It's very accessible yet dynamic and exciting. One big music trip which starts in hell and ends in heaven. People who say prog is dead don't know what they're talking about - this album proves what 99% of the world is missing.

I've been trying to find new music this year, and so far I've found surprisingly lot good stuff, this certainly belongs to that category, whilst not being my thing per se.

Earthside's debut is a form of cinematic modern progressive metal, whose closest rival I'd say is the French Hypno5e. The music is very grandiose and very well structured while keeping a meditative approach. The production is quite fantastic, as every detail in the instrument can be distinguished. The instruments work very well with each other and their timbre fill the audio spectrum perfectly. It is produced by David Castillo so that's not surprising.

The album opens very strongly with 'The Closest I've Come' which goes through many fantastic sounding modern prog metal riffs and letting the listener to really sink in to the athmosphere. The pauses/breakdowns are filled with interesting keyboard sounds that remind me of some newer sci-fi movie soundtracks.

'Mob Mentality' features some nicely sung vocals. Not the greatest vocalist in terms of range but there is some nice power present. The keyboard/string arrangement is quite fantastic here. I suggest you listen how they move with the guitar riffs. Fantastic.

The title track is quite weak unfortunately. It continues with much of the same ingredients than the previous song but the riffs are much weaker, the vocals are high pitched and rather too 'american' if you will. This one ends quite nicely with some heavier stuff however.

As far as I know, all the band members are music grads and the next instrumental song 'Entering the Light' features some great synth arrangements that go with the marching rhythm. This song builds into the next one, which again goes to this modern type of progressive metal riffing right from the start. Nothing special in this song, but certainly enjoyable in all aspects.

'Crater' is one of my favourites. It's quite simple actually but it follows a nice formula with excellent lead guitar arrangement with the vocals. A lot of chug-chug but it's not overdone fortunately.

'The Ungrounding' goes into some djenty stuff (which I hate ofc) but the annoying palm mutes are thankfully eased quickly and the song builds into quite fantastic jamming where the keyboard arrangement once again is superb. People who enjoy these modern chug-chug riffs are in for a treat , because this song is also very well written as it keeps the focus throughout the song.

The last track starts very slowly with some Radiohead type of aesthetic. This one alternates a lot between heavy sections and softer sections until reaching a climax. The end is filled with some horn type of sounds that are very nicely done. I enjoy this last track quite a lot since it reminds me of an old 007 film song somehow.

This is a very strong debut in this genre but somehow I felt there was too much repetition in the guitar work to make it superb. I wish they would consider the guitars more for the next record. Vocals need to be better as well to reach a stellar level. Otherwise, highly recommended.

'A Dream in Static' - Earthside (63/100)

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.

This yet is another thrilling prog metal debut which I lately came across by chance. Responsible for that stuff is a relatively new band hailing from Connecticut's New Haven, featuring 'a group of composers who are passionate about their craft' (bandcamp introduction). Well said! Holy [&*!#]! Again it took some attempts, but now I'm willing to confess, that these chaps know how to make it big! As the vocals seemingly are not their metier, they have invited some singers, who are deriving from diverse well-known prog and heavy alternative bands. Apart from that this still is an album though which sets the focus on the instrumental as well as compositional skills.

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 ...

4.5 stars. What a statement of a debut album! This is a confident young band with no limit on their potential. I encountered this group live before hearing the album, and they blew my expectations away. First off, we don't get a lot of great concerts here in Ottawa, As groups tend to play Quebec City & Montreal before skipping right past to Toronto. Imagine my surprise when of all groups, playing at a dingy bar a block from where I work, comes Leprous! I was excited for weeks leading up to the show, I felt like a kid eagerly awaiting Christmas right up until I was in the door. I was a bit late but caught a different opening act before Earthside set up. I remember having my back turned when "The Closest I've Come" began, and being immediately compelled to head right to the front row to see this group in action. My first thoughts upon seeing them were that none of these musicians could be 30 years old, yet here they were playing cinematic prog metal that is actually something I haven't heard before. Their music is modern and complex, delicate and grandiose, catchy and well-composed. The real standout track that everyone needs to hear is "Mob Mentality", a 10 minute symphonic prog metal monster that honestly will get stuck in your head just like any much shorter song you would hear on the radio. I left this concert also like a kid on Christmas, having received a new gift that I wasn't expecting at all. I would recommend this album to fans of prog metal and fans of classic prog alike.

This ain't your dad's progressive metal.

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.

"A Dream in Static" is the debut full-length studio album by US, New England based progressive metal act Earthside. The album was independently released in October 2015. Earthside consists of four well educated and highly skilled guys, who all have college degrees in music composition and production (or other similar educational skills). It´s like reading the Dream Theater fairytale again, but these guys of course deserve to be judged on their own merits. Earthside doesn´t feature a permanent vocalist, so the band have enlisted the services of singers like Lajon Witherspoon (Sevendust), Björn Strid (Soilwork), Daniel Tompkins (Tesseract), and Eric Zirlinger (Face The King, Seer).

"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)