PYRAMID THEOREM

Pyramid Theorem are a relatively young Canadian progressive metal band that released their self-titled debut in 2012, which contains five tracks with a total duration of 64 minutes (!). Canada is not the country where you would normally go to find 'traditional' progressive metal but these guys prove us wrong.

The Olde Knew kicks off as a dynamic power/epic metal track with galloping riffs before surprising mid-way through by turning into an oriental-influenced typical progressive metal track. Vocals are ''tuned'' with a touch of aggressiveness but the total package remains close to the heaviness of Dream Theater works. A couple of minutes before the end an operatic overture followed by a magnificent keyboard solo sums up and confirms the very positive start to this album.

The beginnning of Forever in Chains picks on a very interesting experimental/mid-tempo riff but the sequence leads to an American-power metal-derived theme (Armored Saint anyone?) with accompanying keyboards. Similar to the opening track, it calms down somewhere in the middle and adopts more progressive metal patterns with oriental influences (yet again) that provide a mysterious atmosphere and keyboard soloing. Long instrumental passages mean that the listener gets a good amount of virtuosity.

Another Day Slips By could well be described as the 'single' of the album, starting with acoustic guitars and continuing with melodic Rush-like distorted harmonies. The vocal lines remind me of Shadow Gallery as the majority of the song is developed on a mellow acoustic-guitar theme. The distorted sections appear towards the end to close it on a high note - clearly the most accessible tune in here.

The two longest tracks come towards the end, dominated by instrumental progressive metal. Primitive Design appears to be a split tribute to Fates Warning and Dream Theater all the way through its duration, while you will certainly not get bored by the multitude of riffs and tempo changes. The vocals on this and the ending track shift now towards the Ray Alder tone. The Dream starts off quite melodic, bearing a 70's aesthetic. The Rush influence returns as the riffs now carry a more rocking feeling while the operatic/epic elements of the opening tracks re-appear after 8 or so minutes to boost the cohesion. The rest of the 29 (!) minutes bring back "Scenes from a Memory" (a very vivid one).

All and all, Pyramid Theorem's debut is a worthy effort, technically complete and very strong production-wise. All the elements to make a good progressive metal album are there - somehow I felt that if this was made in the 90's, it would flirt with masterpiece status; however, the long duration of some tracks might trouble some and the profound similarity to established bands in the scene makes me challenge the originality (I have not found a lot to ''shock'' me) and give this strictly 3.5 stars.

Otherwise, this is a treat for fans who have not given up on 90's progressive metal. I am expecting an even better release in the future.

Canadian quartet PYRAMID THEOREM was formed in 2007, and made their debut with the EP "Voyage to the Star" the following year. Following this they started preparing material for their debut album "Pyramid Theorem" which was released in July 2012.

And in what appears to be a rather familiar story these days, we're dealing with a band that have made themselves an accomplished and good quality initial effort. Progressive metal is the name of the game in this case, and as such productions go one that does venture a bit further into innovative landscapes than many others as well.

This disc opens with two fairly intense compositions, The Olde Knew and Forever in Chains. Both songs flaunting a certain Dream Theater influence, but also indicating that this is a band rather well versed with thrash metal as well. Possible traces of Metallica and Pantera to be found, and at least the latter of these are mentioned specifically as an influence by the band too. But even while exploring material of such a nature there's also room for keyboard driven inserts sporting something of an Eastern, mystical sound here, as well as a gentler Rush-tinged sequence for the opening track and a neo-classcial oriented run for the following track.

Third song Another Day Slips By is a piece that should find lots of recognition by fans of late 80's Rush, an all together gentler escapade in mood, sound and style, while epic length and mostly instrumental outing Primitive Design is a nice run through Dream Theater inspired movements first and foremost. And unlike many other bands with ample room for escapades of a more challenging nature included, not limiting their take on that particular sound to majestic keyboard and guitar riff combinations.

Most of these tendencies as well as a few gentler, almost pastoral progressive rock inserts makes up concluding composition The Dream. Kicking off in more of a late 70's Rush style, an expression revisited later on, we're taken on quite the ride with this one, alternating between classic progressive metal, gentler art rock escapades as well as the style first mentioned in a smooth, logical and intriguing manner, with a nifty guitar solo sequence backed by blues-oriented bass and drums as one of many details that makes a positive impression in the innovation and diversity department for yours truly.

Music of this kind demands good quality instrumentalists to succeed, especially on compositions with as many elongated instrumental movements as we're dealing with in this case. And Pyramid Theorem is up to that task quite nicely, all members contribute details and more or less subtle nuances that craft and maintain tension and interest throughout.

If you tend to listen to classic progressive metal with the same level of interest as Canadian trio Rush in general and their late 70's and early 80's albums in particular, Pyramid Theorem is a band and an album you most likely should take notice of. In particular of you don't mind their initial occasional forays into more aggressive realms.

From Richmond Hill, Ontario in Canada, the band was formed in 2006, and it's in 2012, that they made this self-titled album. There is only 5 tracks but one going to the 30 minutes mark. From the first song "The Old Knew", we are in the presence of a band that want to show their musicianship with some fast guitar arpeggios. The music is in the symphonic/power metal genre in the direction of Dream Theater and Symphony X. The vocals are not clean and fortunately it would improve a bit as we are going further in the album. Not only we are greeted with some powerful guitars parts, but also a big drum sound that shows some nice patterns. The keyboards have their share of space with some interesting solos, as well. The band can slow their fast pace down a bit with some acoustic parts that brings a little breather to the music. There's also a short oriental music passage from the guitar in the second song " Forever In Chains" and a drum part that evoke the song "Territories" from Rush. And this Rush's influence continue with the single "Another Day Slips By". The overall sound takes us back to the Rush "Signals" era. Here the vocals are cleaner and more melodic because the song is more mellower than the other tracks. In the next song "Primitive Design", we are back with some Progressive Metal where we can hear clearly for the first time a short bass line. There is also a extended keyboard solo from the book of Jordan Rudess. In the last epic song "The Dream", the band decided to end this album in a dramatic style with a resume of what the others songs were offering but by upgrading the level a bit with many stops and go, and a long instrumental break that slow things down with a pure Opeth style. This is a impressive debut album that show nice potential, if they could improve the quality of the vocals to match the quality of the music, that would be near perfect.