SHRINE OF NEW GENERATION SLAVES

Somehow Riverside just seem to keep on getting better and better, with the new album being a case in point. As I write this it has had 73 ratings on progarchives and is rated as the second best album of the year so far. Now, I know it's only January but it won't be far from that mark at the end of the year I'm sure. The four musicians have now been together for a long time and it shows. Production is yet again just wonderful, and not only has the music grown in maturity and presence but so has Mariusz's vocals. This is a band that has really come of age and they mix up bouncy hard rock from the Seventies with a much more laid-back Floydian feel. For some reason I keep thinking of Opeth, although they are nothing alike, so it must just be due to approach as opposed to sound.

"Celebrity Touch" is a fun bounce along rock number with great Hammond that apart from the vocals could be classic Spock's Beard. This is a prog album that is guaranteed to make the listener smile from the first note to the very last and there is only one thing to do when it ends, and that is to play the whole thing again. The louder I played it the more I enjoyed it, as the guys really know how to hit that perfect vibe. Highly recommended. It doesn't get much better than this. www.insideout.de

9/10

A Perfect Balance.

"Shrine Of New Generation Slaves" is the fifth album by Polish Progressive Rock/Metal act Riverside, one of the last decade's most beloved European bands of the genre. They started off with a trilogy of albums, which begun in 2003 with "Out With Myself", continued with "Second Life Syndrome" and ended with "Rapid Eye Movement". These albums all had a very similar sound that combined heaviness with Pink Floydian atmospheres, with a greater dose of the latter. 2009's "Anno Domini High Definition" was a complete direction-shifter, thanks to a sharper, more modern sounding production, more futuristic and advanced sounds, and more Metal. This last release stunned me completely, and I still keep it dear to my heart for it is now one of my favorite albums. "Shrine Of New Generations Slaves" at this point has quite a bit on its shoulders. Luckily, the band proves they are still in great shape, and that they can still amaze.

In many ways, this is the album that should have been midway between the trilogy and "Anno Domini": the production is a good mix between the two, because while we still have the Floydian atmospheric sounds, there is still a lot of sharp, modern sounding Metal. Like also the trilogy, there is a lot organ playing to give thickness to the guitars and keyboards, and there are quite a bit of piano bits, synth pads, and some additional instrumentation such as the sax or the flute. In fact, this album is again another pleasantly varied piece of work, instrumentally speaking. But the variation doesn't end here: in terms of mood, this is also quite a diverse album, as we find melancholic songs, but also fun, heavy ones, and some others veiled with a shroud of mystery. But it never feels like a mixed bag, everything is so perfectly in balance, and when a different mood does kick in, it comes in just in time.

The depth of "Shrine Of New Generation Slaves" is really outstanding, almost to the levels of "Anno Domini", in the sense that the music brings you deep into a world, very similar to ours, but where a melting pot of emotions is an everyday thing, where social discomfort reigns, in a time where every one is closed in, and where everything happens from within and never coming from the outside. It is a very introspective album, and the flow of it almost feels like an unconscious stream of emotions, a strongly linear journey with a beginning, and with a pleasantly suffused ending.

Particular highlights that mark this beautiful journey are songs like the wonderfully complex " The Depth Of Self-Delusion", the meditative calmness of "Feel Like Falling" the more urgent, fun pieces like the single "Celebrity Touch", or "Deprived", and the second-to-last track, "Escalator Shrine", which has the most powerful closing minutes Riverside has ever managed to write.

"Shrine Of New Generation Slaves" ought to be remembered as one of the finest examples of Progressive Metal, and to be part of that still-growing bulk of masterful releases coming out of this decade. Its approach is very new, the atmospheres are very innovative, and the level of sophistication is extremely high; with these attributes, there is no reason for this to not be part of the best of the best.

Much has been said about this album, so I won't waste anyone's time with more raving about each track. However, I do want to mention my perspective on this album. Riverside has proven once again that they are in world all their own: they do what they want. It's as simple as that.

"Shrine of New Generation Slaves" is a perfect example of this fact. SONGS has been correctly described as being somewhere between the Reality Dream trilogy and ADHD. Yet, I cannot shake the feeling that Mariusz Duda's solo project, Lunatic Soul, has influenced this new album immensely. Whether it be the spacey xylophone, the slow moody segments, or the signature song structures; Lunatic Soul is found throughout the album. In fact, the bonus disc Night Sessions tracks (excellent editions, by the way) seem like they are straight off of Lunatic Soul's "Impressions". While some may complain about this, I welcome it immensely. It seems that Riverside is becoming slightly more eclectic, less metallic (why are they listed under progressive metal?), and even more original.

As to the musicianship, SONGS delivers. Duda wows with his vocals and especially with his intense and intricate bass lines. The keyboards also really shine on this album as they range from a 70's texture to piano passages to more neo-prog styles. As usual, the guitar work is also phenomenal, and this is just as varied as the keyboards. I've never heard Piotr perform such soulful solos as on SONGS. Lastly, the drums are well done (I was very impressed in a few spots), but I still would love to see them taken up a notch or two.

Finally, I think my favorite thing about this album is the theme. Themes and lyrics are very important to me, and Duda really outdid himself here. The theme of new age slaves is riveting as we see first world citizens that are chained mentally, spiritually, and emotionally. Slaves to religion, to broken relationships, to materialism, and to other issues are all emotionally explored. This album is nothing short of powerful. "We never talk when we fall apart"...

Currently, I would have to say my favorite tracks are "The Depth of Self-Delusion", "We Got Used to Us", "Deprived", and the epic "Escalator Shrine". Yet, I know this will shift as I discover this album more and more. Overall, Riverside has delivered a game changer once again, and I encourage everyone to join the ride.

A tour de force of compelling concepts and brilliant musicianship, a triumph of Riverside.

Riverside are one of the most exciting dynamic prog artists to come out over recent years. On this latest release 'Shrine of New Generation Slaves' (abbreviated as SONGS! Don't you love it?) Mariusz Duda is as masterful as ever on crystal clear vocals, and pulsating bass. He is joined by the incredible guitars of Piotr Grudzinski, the keyboard finesse of Michal Lapaj, and the piledriver drums of Piotr Kozieradzki. When I first listened to this album I was not really worried about whether the band would sound like previous albums as I have found that their albums differ greatly from one another over the years, and they are still able to maintain interest simply due to the virtuoso musicianship and innovative compositions. So I ventured into this without any prior knowledge of what to expect, conceptually or otherwise, and had not looked at a single review, and forgot the clip available of 'Celebrity Touch'. This was a good move because the album absolutely transfixed me from beginning to end, without prior expectation. It is an incredible album, and one of the best so far in the early stages of 2013; one of the top ten masterpieces of 2013. I am delighted that this is the case as I have really grown to love this band over the years and they never disappoint which is a rare thing these days.

'New Generation Slave' (4:18) opens with distorted vocals and a powerful prog riff crashing through. It builds to a fast fractured rhythm reminding me of Soundgarden's 'Spoon Man', or indeed the riff on 'The Same River' from Riverside's 'Out of Myself' debut. The heaviness is densely layered with Lapaj's shimmering Hammond. There is a fiery guitar and bass tempo and it is all refined by the glaze of Duda's pristine vocals; a towering start to the album and an absolute sure fire killer intro to the band for those who had not heard previous songs. The lyrics focus on the hate of the new generation, the lost hopes and broken dreams that pervade this dark world; 'Into this world I came, Filled with fear, Crying all the time, I guess my birth, Left a great scar on my heart and mind, Now I hand-pick cotton, And struggle to sing "I am happy and I do what I like", But my voice breaks and I start to hate my singing and simply everyone.'

'The Depth Of Self ' Delusion' (7:40) has the acoustic vibrations of Grudzinski's guitar, and Duda's melancholy vocals are executed with passion. The lead break and driving tempo is built gradually over an uplifting melody. It is bookended with more finger picking acoustics capping off a beautiful song with a compelling structure. The lyrics by Duda are all about feeling like a wall is being built up, similar to Pink Floyd's hypothesis, and it really touches a chord with me; 'I could be foreign forevermore to your neverland, One little brick then another and I will build that wall anyway, You can find me there rested and calm without mask, This is where I will stay.'

'Celebrity Touch' (6:48) opens with killer driller riffs that have an intricate time sig. Duda's vocals are crystal clear and work well with the electrifying keyboard and guitar driven punctuation. It is a heavy song with some magnificent syncopated rhythms. There are some higher vocals in the background too that augment the tranquil atmospheres generated in the quieter verses. It has an infectious melody in the chorus and moves along at an energetic pace. This is a very nice composition with layers of musicianship of the highest quality. It really grew on me with that bassline and crunching guitar riff. I love Duda's lyrics on the dangers and hypocrisy of celebrity status, the lies and fabrication of maintaining a false fa'ade that will please the masses but in in the end is an empty existence; 'In the center of attention, TV, Glossy magazines, My private life is public, I sell everything, Days are getting shorter, They'll forget about me soon, So I jump on the bandwagon, With no taboos.' This sentiment could represent any celebrity who is trapped by public attention, something that is craved but when it is gained the celebrity abhors being the subject of hysteria as their life becomes a tomb, their home a prison, it is a sobering thought. It is little wonder celebrities become cynical and crazy, jumping on a bandwagon with no taboos, as sometimes they are given little choice as products of consumer hell.

'We Got Used To Us' (4:12) is a song that has a measured tempo and some effective lead guitar motifs over layered harmonised vocals. The timbre of Duda's voice is always a drawcard for me, he is able to create the most powerful sensuous moods as he pours out the reflective lyrics. Once again Grudzinski's lead guitar break is present but this one is more subtle with Lapaj's moody piano augmentations. This sombre song sent chills through me, it is simple compared to other tracks on the album but it has such a haunting melody and some very potent lyrics that strike to the heart; 'I know we got used to new life, And I don't want to be there, No, I don't want to be there, Where we are, Silence fallen between, All the doors are locked, All the words unsaid, And we're still afraid of time, Started to keep ourselves, At a distance that we could control, Not too close, Not too far.' The protagonist is trying to come to terms wth the loss of his loved one, perhaps a good break up song as it captures the turmoil of emotions felt, the emptiness that drives nails into the heart, love being replaced by bitterness and the cold feeling that it is over. It ends with the pleading phrase echoing, 'so walk away with me'.

'Feel Like Falling' (5:19) is a real surprise eclectic package beginning with 80s retro synths buzzing, reminding me of the rhythm of 'Candy Man' by Suzi Quatro, one of my favourites. It is enhanced by 1968 style Hammond pads from Lapaj. The rhythm is quirky and similar to the style of Muse and high register vocals again backing to add a further dimension of harmony. A heavy guitar riff comes in with a half time feel, and some glorious effervescent Hammond quavers. It closes with an instrumental break with Grudzinski's muscular guitars in an odd time sig and some wah-wah pedal lead embellishments. This is one of the highlight tracks undoubtedly. The time sig is complex at times and I wished it would have gone on longer as it is one of Riverside's best compositions. The lyrics focus on the protagonist bouncing back after the loss felt from the broken relationships, expressed in metaphors; 'Could have been a tree of dawn, Rooted deeply in the ground, Bearing fruits, Far away from falling into blank space.' The blank space is that nothing box that has been opened when one's world has turned to despair and life is like a blank slate with nothing written on it. It is like starting over from scratch now that his lover has moved on, and he tries to forget but the memories are still too raw. Thatis why he feels like falling over the precipice, to rid himself of the burning pain. But these emotions will soon subside as long as he hangs on to what he has.

'Deprived' (Irretrievably Lost Imagination) (8:27) follows with Riverside in a more contemplative mood with reverberating guitars, violin strings and an ethereal atmosphere. Kozieradzki's drums maintain a strong tempo and Duda's vocals are more estranged and laid back. This has a lovely saxophone sound, or clarinet jazz break out, and it cascades over the music with astonishing power. There are a number of tempo changes The lyrics are the dreams of the protagonist that have become fractured over time in a life that has become deprived of so many things; 'I live surrounded by cherished memories, I have a weakness for collecting them, Alphabetize, As far as I recall my childish rituals, Icons of that world always filled my shelves and heart.' I love the section where the sadness and loneliness is conveyed by poetic beauty; 'In a world of synonyms and handwritten notes, My own puppet performances, Endless bedtime stories, I could touch the moon and switch off the sun, I could have my dreams and dream about better times.' Perhaps this is the ray of hope now, the next phase of his life is beckoning and he is moving out of a depressed state to embracing what may come in the future.

'Escalator Shrine' (12:41) is the longest song so I was hoping for layers of intricate musicianship and the band to launch full tilt into the heavier prog rock I loved so much on 'Anno Domine High Definition' and some of the songs on earlier releases. It surpassed my expectations and is perhaps the definitive track to check out if you are still wondering what all the fuss is about. This song absolutely blew me away. It begins with subtle quiet vocals and soft Spanish guitars over an ominous drone. The guitar takes on a complex signature and keyboard chimes sounding like The Doors' 'Riders on the Storm'; was Ray Manzarek in the studio? I loved this soundscape generated and the unusual signature works so well with the very innovative lyrics about feeling isolated in a crowded city, moving aimlessly along with the human traffic, as people move to places of mass consumption and buy things they don't need, and the protagonist feels more empty as nothing is real or still, and he is bitter and more convinced that everyone around him is putting on a fa'ade to hide their true feelings, that they too are as lost as him but are too self obsessed with the trivialities of life to admit it; even wrapping themselves in the cocoon of syber technology, laptops, mobiles and ipods, as they converse with faceless entities to compensate for friends, and pretend thay are not alone, 'We are stairway drifters, Made of cyber paper, Google boys and wiki girls, Children of the self care, We come to pray every single training day, Looking for a chance to survive, Buying reduced price illusions, Floating into another light, Melting into another lonely crowd.' Then it builds with a grinding Hammond harking back to the 70s era, and a hammering tempo blasts in like a tempest. The Hammond is given a workout and is an absolutely stellar performance from Lapaj. Guitars jump in and out of the keyboard freakout, a tantalising skin crawler, one of the best keyboard passages on the album. The pace locks into a crawl with beautiful guitar reverbs and Duda's echoing vocals. The time sig changes into the slow measured cadence similar to Pink Floyd's spacey atmospheres. The lyrics breathe out vehemence against the throwaway society we have become, and exude that our years are wasted trying to chase unattainable dreams as we drift from day to day; 'Dragging our feet, Tired and deceived, Slowly moving on, Bracing shaky legs, Against all those wasted years, We roll the boulders of sins up a hill of new days.' This builds into some powerful riffs with Grudzinski's heavy guitar emblazoned with stirring dramatic keyboard creating a wall of sound. At the end of this I was convinced I had heard a masterpiece track of immeasurable quality; simply a stunning achievement from Riverside.

'Coda' (1:39) is the brief closing track, that glistens with sparkling acoustics and Duda's vocals with the same melody as the opening. He concludes with the sentiment that he has come to the point where he no longer wants to fall into blank space; a ray of hope at last; 'Want to be your light, Illuminate your smiles, Want to be your cure, Bridge between self and us, Want to be your prayer, Wipe the tears from your eyes, When the night returns I won't collapse, I am set to rise.' It feels like the end of Pink Floyd's 'The Wall' with the brief coda that wraps up the album.

SONGS is an amazing album full of dark and light shadows, and poetic beauty. It has some of their greatest songs, namely the chilling 'New Generation Slave', 'Feel Like Falling' and 'Escalator Shrine'. Those three songs alone are awesome, but the album also has the more subtle quiet moods that will appeal to the now generation. The one thing that really impressed me is that the album is progressicve in every sense of the word with intricate time sigs, shifting tempos, comtemplative lyrics, dynamic musicianship and innovative layers of sound. There are many bands coming out that sound like they belong on the radio and they are only interested in cash cow singles. Riverside stay true to the prog roots that progheads adore and they do it in style with inventive ideas and some of the most incredible melodies and riffs; though it is more symphonic than metal, with Deep Purple or Uriah Heep sounds, a bit like Opeth's 'Heritage'. The Hammond flourishes are amazing over the heavy guitar textures. The album also grows on the listener as I noticed on subsequent listens certain songs are drawn to the ear with their beautiful meloides, for instance on my third listen in a row 'The Depth of Self Delusion' soon became one of my favourite songs, it has a relaxing serene atmosphere and Duda's vocals are wonderful speaking to our spirit. 'We Got Used To Us' likewise strikes a real chord with me, the melancholy touch and overall melodies are absolutely mesmirising. There is not a bad song on the album, even after multiple listens nothing feels like filler. In fact each track is complimenting one another with a magical entrancing resonance, until we get to the magnificent finale; the crescendo of power captured in the tour de force 'Escalator Shrine' epic.

With so much quality displayed and with the layers and depth of musicianship executed here, I can only conclude by awarding this with the highest accolades. It is awe inspiring that Riverside maintains such a consistent high quality from album to album. 'Out of Myself', 'Second Life Syndrome', 'Rapid Eye Movement' and especially 'Anno Domini High Definition' are treasures of prog, and now 'Shrine of New Generation Slaves' is the pinnacle of their master class musicianship; a genuine musical epiphany. I hoped this would be an excellent album but I didn't expect it to have this much impact and resonate with me to such a degree. Strike this one down as another top notch brilliant masterpiece from one of the greatest prog modern artists on the planet.

I am thankful that Riverside decided to back off from the abrasively heavy direction that Anno Domini High Definition was taking them. I am not sure that I'm up for yet another modern group paying homage to the masters and masterpieces of the 1970s.

1. 'New Generation Slave' (4:17) takes too long to develop, Mariuz singing in English blues slang feels weird. At 2:05 shifts into second gear. Effects on Mariuz' voice is too much. Song too steeped in old field (Led Zep/Uriah Heep) (7/10)

2. 'The Depth of Self-Delusion' (7:40) why is Mariuz so obsessed with these odd voice treatments & modulations when he's got such a great natural voice?! This song does absolutely nothing new or exciting for the first three minutes. It's when the softened, glockenspiel and cello section arrives that it starts to get a little interesting. At 4:17 a cool section with strummed electric guitar takes over, but neither the vocal nor the lyric deliver the much-hoped-for knock out punch. The LUNATIC SOUL-like acoustic guitar to end is nice, just not sure this is Riverside. (8/10)

3. 'Celebrity Touch' (6:47) begins with a very Led Zepellin feel and sound (is that John Bonham on the drums?). When Mariuz' heavily treated/distorted voice enters I find my heart dropping. Disappointment. Cheezy 60s organ solo at 1:20. At 2:22 the song transitions into a very nice keyboard-driven section for about a minute. The A Section returns and tries to drive the song'even after one of Mariuz's great screams at 4:08'but doesn't quite take it (maybe we needed Bonham to step up a little more). A nice guitar solo at 4:40 fades into a softer version of the B Section. It turns a little too ALAN PARSONS PROJECT 'Eye in the Sky'-ish until the final 40 second's build to end. (8/10)

4. 'We Got Used to Us' (4:11) Okay. I'm ready to forget this is Riverside, to listen as if each song is a brand new band trying to present brand new music. What a great melodic song. A cross between LUNATIC SOUL and JOHN LENNON. The soloing guitar appearing almost blues-like in different sections of the song is welcome and warm. It works. This is a pretty, even beautiful song. I even keyed into the lyrics enough to know that there is a pretty cool message here. (9/10)

5. 'Feel Like Feeling' (5:18) Devo? What is that opening riff and rhythm about? I like the treated guitars'almost psychedelic. Though the vocal starts out like a standard M. Duda effort, there are a few changes in style and delivery that are surprisingly fresh. Still, this is not really a new or modern song'more of a throwback into the 80s. All out Led Zep for the final ninety seconds. (8/10)

6. 'Deprived (Irretrievably Lost Imagination)' (8:26) begins like something out of a soundtrack to a French film'or something from Lebowski's Cinematic. A really pretty song with one of Mariuz Duda's most sensitive vocals ever. Very dreamy. These guys are mellowing with age! No metal here! Love the gamelan-like synth arpeggio that joins at the three minute mark. Truly a stunning vocal performance! At 4:00 begins a section that is part Spaghetti Western, part KRAFTWERK electronics, which then evolves into a kind of brooding U2 meets emotional. The ensuing soprano sax solo is delightful surprise. Amazing! So odd, so fresh. It works! A masterpiece for the ages! (10/10)

7. 'Escalator Shrine' (12:41) starts out with a very intriguing bluesy-jazz feel to it'kind of JEFF BECK-ish and at the same time The song stays subdued until the 3:50 when it begins to build in a 70s kind of way with a 70s kind of guitar solo. At 4:35 there is a complete shift, as bass, pace and organ lead the way into a URIAH HEEP-like song in over drive. Keyboard solos over this very tightly performed section. At 6:24 there is another, albeit brief, shift into an ELP Tarkus-like section (even down to the effected vocal). The everything quiets down to a very PINK FLOYD 'Wish You Were Here/Eclipse' cover section. Nice, clever song of masterful performances but, in the end, Riverside are adding nothing new to prog world, they are, in fact, instead raising their arms in praise (and defeat?) to the masters that have come before them. (8/10)

8. 'Coda' (1:39) is the brief album closer'the acoustic guitar arpeggios from Suzanne Vega's 'Small Blue Thing' over which Mariuz Duda gives a very familiar Mariuz Duda vocal performance. (8/10)

Are all bands in the 2010s going to be trying to replicate, regurgitate or recreate the masters and masterpieces of the 70s? I worry. I love the music and sounds of the 70s. I relish and feel excited for the artists who are pushing the envelope and leading "progressive rock" in a forward, progressive direction. I hope today's new artists aren't giving up on the possibilities of "new" or "fresh" or "innovative." I believe that there are new sounds and new musics out there yet to be discovered, yet to be heard by even we old-timers.

Consequently, this is not an essential masterpiece of progressive rock music; it is an excellent addition to any prog rock music collection--very melodic and accessible, if familiar and seldom ground-breaking.

P.S. For those of you interested, the 'Deluxe Specal Collectors' Edition contains a second disc with two wonderful almost Electronic, almost dance songs: 'Night Session, Part One' (10:44) and 'Night Session, Part Two' (11:33).

4 Years after their impressive "ADHD", Riverside returns with an album that tries to bridge the Prog Metal rocking energy of "ADHD" with the more melodic approach of their earlier albums. The result has been received with loud rounds of applause from most fans and I'm pretty sure this must be a safe purchase. Unfortunately for me this turned out quite a disappointment. This is a dull listen with plain and safe songwriting and that rarely goes beyond recycling old ideas.

Most of the songs are built around poppy ballad fluff, with some hard rock clichés, boring retro sound and unnecessary distorted vocal effects thrown in for good measure. There are few interesting solos or instrumental sections (at least not on the main CD) and bar a few unexciting 'rockers', all songmaterial is ballad based. RIVERSIDE do that with a certain flair but they've done this much better before. This album really leaves me hungry for something really exciting.

It takes till halfway into the 6th track until there's something that stands out from the wallpaper Prog that preceded. "Deprived" has a short prog-electronic inspired instrumental passage that shows the ease and confidence with which this band can produce some wonderful Prog. The instrumental themes of this song are further explored in the instrumental CD2 that comes with the special edition. Yes, when RIVERSIDE shake off their song conventions and go all-instrumental and trippy they show how good they still can be. Also "Escalator Shrine" is not without merits but still below the longer tracks from previous albums.

RIVERSIDE's career has never been marked by great originality or daring explorations but they always had an excellent ear for a good tune and they executed that with heart and soul. Now in this album I can't hear that. The wide gap of quality (and style) between the actual CD and the extra disk only confirms my misgivings, this band has much better in store but they've settled for the path of least resistance Conclusion: Uninspired band retreats into comfort zone. 2.5 stars, maybe 3 with the extra disk.

I honestly find so many of Riverside's releases to be kind of overrated, with only their debut really holding my attention. Shrine of New Generation Slaves has not prompted me to change my mind. This time around I can tell that the band are trying to work a few more Pink Floyd influences into their sound - I can tell because they keep using that "telephone" filter effect on the vocals which bands trying to mimic Pink Floyd can't seem to leave alone - but classic-era Floyd would be embarrassed to put out an album quite as riddled with cliches as this one. Strip away the Floydian affectations and many of the songs boil down to fairly typical hard rock ballads - ballads with hilariously sophomoric lyrics. Call me the buzzkilling king of all spoilsports, but I just don't get the appeal.

Riverside is a band that always have two reactions from the audience, love or hate. Just a few people stay in the middle of the road. I'm a Riverside fan. They're one of the few bands that I actually have all of the albums including two special editions.

It's been 4 years since Anno Domini High Definition (2009), their last studio album, was released and Shrine Of New Generation Slaves (2013) is the name of the new album.

With the same line up as always: Mariusz Duda (vocals, bass, acoustic guitars and ukulele), Piotr Grudziński (guitars), Piotr Kozieradzki (drums) and Michał Łapaj (keyboards). The album was recorded, mixed and mastered at Serakos Studio in Poland between March and October 2012 and was produced by the band together with Magda and Robert Srzedniccy. The band often refers to the album as SONGS (the short version of the album's name). If it was intentional or not I cannot say. What I can say is that SONGS turned out to be the best album by the Riverside so far.

In the beginning of the composition process they said that this album would be different from the previous one, and that's true. Shrine Of New Generation Slaves (2013) is different but with all the band's elements included.

The opening track 'New Generation Slave' has a Hard Rock feeling mixed with a Blues sentiment to it. You can also feel that the band went back to the 70's sound in terms of guitar distortions. It's heavy, but not in the Metal way. In fact, the overall sound on SONGS is just perfect. Basses, guitars, drums and keyboards with the best tones possible, everything ending in the great songs.

'The Depth Of Self-Delusion' begins and I realize once again how good Mariusz Duda voice is. Clean and full of emotion. The first single 'Celebrity Touch' is a heavy brick on the window! Fast and heavy riff with Hammond Organ, the cherry on the cake. And then the trip continues through the beautiful piano and melody of 'We Got Used To Us', the 'modern-retro' beat of 'Feel Like Falling', and the space feeling in 'Deprived'. The longest song on the album is 'Escalator Shrine', and you gotta love the bass lines of Mariusz, always clever and out of the common place that the bass found itself in the last years of Prog Rock. This track is also the most Pink Floydish in SONGS, mainly because of the good Michał's keyboards.

To finish the album there is a short 'Coda'. Just acoustic guitars, vocals and keyboards with the melody of the first track. Perfect ending to the possible best album of 2013.

I was completely horrified upon hearing the new Riverside single Celebrity Touch and its companion video did little to help me appreciate the song. Still, I had my hopes up for the release of the band's fifth full length album and a follow-up to their highly successful record Anno Domini High Definition!

I recall being somewhat disappointed when Riverside decided to stray from their winning formula by releasing their 2011 EP Memories In My Head. There was a clear change in the band's sound that was leaning heavily on the familiar sounds from their past but ultimately lacked the punch, which made the EP an unmemorable affair for me. Things only got worse when I heard the proposed new single Celebrity Touch which was easily the worst thing that I've heard from Riverside so far. Still, I had to hear the rest of the album before dismissing it all together and so I made the decision of purchasing the record upon its release.

My first spin of Shrine Of New Generation Slaves was a mixed bag. I did enjoy some of the material but the overall feeling was that the band have shifted away from their sound on Anno Domini High Definition. The tone was much softer and most of the compositions drifted even further away from their progressive metal sound of the past. This by no means implies that Riverside have made any major changes to their sound, the album is still filled with familiar Space Rock inspired guitar passages and Mariusz Dudas melancholic vocal delivery, so fans of the band should not fear.

I was initially planning to give this record an average rating but the album finally began to fall into place after I saw Riverside performing it live. I was especially impressed by the live renditions of Escalator Shrine and Feel Like Falling which manage to overshadow their studio versions. I might still be slightly unsure about my feelings towards this record but I definitely have began to appreciate it more over time and am willing to give it the excellent rating that it would have never been able to receive have I written this review earlier.

***** star songs: The Depth Of Self-Delusion (7:39) We Got Used To Us (4:12)

**** star songs: New Generation Slave (4:17) Feel Like Falling (5:19) Deprived (Irretrievably Lost Imagination) (8:26) Escalator Shrine (12:41) Coda (1:39)

*** star songs: Celebrity Touch (6:48)

It grew on me ...

The first spin of this album did not really hook me to the music as I expect something similar - in terms of energy and dynamis - wih previous AnnoDomini. But as I repeated the spin over and over finally I reach to the point that this one is really enjoyable and excellent album in all dimensions: music harmonies, complexity, melody, change of tempo as well as structural integrity. Well I would say that the composition is not that complex but it's not simple as well. As for the opening track "New Generation Slave" (4:17) I was almost bored with relatively long opening part. But as more spins I experienced I then could understand why it took that long and it's quite clear to me that it helped set the tone of the music. One thing I love it is that the riffs are really great and become the main characteristic of this opening track.

"The Depth Of Self-Delusion" (7:39) is basically much slower to tempo than the opening track it reminds me to Pink Floyd nuances as the music moves from one segment to another. It's like a refreshing time after quite dynamics first track. "Celebrity Touch" (6:48) moves the music in different way with powerful riffs at opening followed by rocking vocal line. As the music flows I always enjoy the intertwining nature of riffs, organ work accentuated with raw vocal and drumming. "We Got Used To Us" (4:12) brings back the music to a refreshing nuance with slower tempo using piano and nice vocal work. The guitar solo is nice. In some musical breaks I can see some Floydian style and sounds. "Feel Like Falling" (5:19) starts again with heavy riffs followed with long distance singing vocal style. "Deprived (Irretrievably Lost Imagination)" (8:26) is another psychedelic kind of music. "Escalator Shrine" (12:41) is the longest in terms of duration compared to other. It flows in medium tempo at beginning with some sort of psychedelic nature. It flows then to dynamic and faster tempo with organ solo. It's a nice track, really.

Overall this is a beautifully crafted album combining the psychedelic , spacey as well as ambient style. It flows really nice from one track to another. Four stars. Keep on proggin' ...!

Peace on earth and mercy mild - GW

The controversy around this album was one of the reasons that drew me in. Not having studied their last couple of releases (but hearing snippets that confirmed they were still the same band) their single 'Celebrity Touch' came to introduce a new element to SONGS, which did not sound to glue too well with their trademark sound.

In SONGS, Riverside try to mix this retro-bluesy-stoner sound with what they know to do well: creating beautiful melodies, experimenting "reservedly". Granted, creating the same album every 2-3 years is not ideal, but when the new ingredients are not compatible with one another the cake will fail. And I assume this is what happened here, in an album with no real excellent songs from start to finish, just indications of a band that can create great music. The exceptional moments are few and hard to find in compositions that either recycle previous ideas or extend in length without specific direction.

The mellower moments are again the ones to watch out for ('The Depth of Self-Delusion', 'We Got Used to Us', 'Deprived') but even then the melodies are not consistently great and the forced introduction of distorted vocal effects spoils the ambiance. The retro-stoner (call me Spiritual Beggar) riff of the opening track gets recycled, albeit slightly twisted, in the remainder of the album and 'Celebrity Touch', possibly their weakest effort in songwriting.

Fans might enjoy it, but I did not find enough to keep me spinning this, so without exceptional songs this cannot get higher than 2.5 stars. I'd suggest waiting for the next album, this is a bit "confusing" and "awkward".

"Shrine of New Generation Slaves" is the 5th full-length studio album by Polish progressive rock/ metal act Riverside. The album was released through InsideOut Music in January 2013. It's the follow up to "Anno Domini High Definition" from 2009. Although Riverside have released a couple of minor releases in their intermediate years, it's the longest time between album releases yet in the band's discography.

To my ears the long break has done the band good. Maybe they've had some time to reflect on the direction of their music because "Shrine of New Generation Slaves" is a more mellow and subtle release than "Anno Domini High Definition (2009)" was. It's also a more tasteful release and the full blown progressive metal sections on "Anno Domini High Definition (2009)" are not present on "Shrine of New Generation Slaves". Riverside are still capable of playing more metal oriented sections, but they are typically delivered in a 70s influenced hard rocking style that reminds me of Deep Purple or Rainbow, rather than the more contemporary progressive metal sound on the predecessor. I think it's an important step back to what Riverside really excel in. Paired with their neo progressive Marillion influence and the alternative/progressive rock influence from a band like Porcupine Tree, "Shrine of New Generation Slaves" works really well to my ears. I don't necessarily think, they are the most original sounding band, but they are really successful in making all their influences work together and thereby creating an impactful sound.

One of their greatest strengths is the emotional delivery and strong voice of lead vocalist/bassist Mariusz Duda, but the band are generally very well playing. Add to that a detailed and organic sound production and "Shrine of New Generation Slaves" really comes off as a high quality release. I'd call the whole album one big highlight, but hard pressed I'd chose tracks like "We got used to Us" and the 12:41 minutes long epic track "Escalator Shrine" as some of the standout tracks on the album. I know other people are far more impressed by "Anno Domini High Definition (2009)" than I am, but to my ears "Shrine of New Generation Slaves" is a welcome back to form and all in all a very enjoyable listen. A 4 - 4.5 star (85%) rating is deserved.

For a band that became labelled progressive metal, Riverside have progressed a lot in a direction away from that subgenre. This album still features the heavier guitar sounds of a metal band but less than on "Second Life Syndrome", the first album of theirs that I purchased. For "Shrine of New Generation Slaves", Riverside has made plenty of room for subtlety, melody, mood, and very effective use of all instruments present, including wonderful vocals that move from whispers to barks and shouts but mostly roam the realms of emotive clean singing.

The album jewel must be "Escalator Shrine" for all its variety in groove, from melodic and slow to loud and fast and several paces in between. But there are other highlights like "We Got Used to Us" with its piano, bass, drums, and sensitive vocals or "Deprived (Irretrievably Lost Imagination)" which also makes good use of non-bombast and good clear instrumentation and great atmosphere. And "Feel Like Falling", though short, nicely includes pop synthesizer in some parts and heavy guitars in others.

Because so much of the album is not heavy, the heavy parts are treats to hear, but as well the less sonically aggressive parts capture the sounds and notes of the instruments so well that its a great joy to play the album from beginning to end. Still, I can't help but pull off individual tracks for playlists, and that makes this album for me a great one.

This is one of my picks for a post 2010 "gateway to prog" album. To understand "gateways to prog" check out Stephen Lambe's book "Citizens of Hope and Glory: the Story of Progressive Rock". Riverside receives only a brief mention; however, this album would look good in any future edition of the book. Four and a half stars!

4.5 stars. RIVERSIDE in my opinion are at their best when they play in that atmospheric style with the addition of Duda's warm vocals. Well, we get that style in spades here on "Shrine Of New Generation Slaves". I would go as far as to say this is their most beautiful album, and if it wasn't for the first track i'd be giving this 5 stars.

Not that "New Generation Slave" is a bad tune, in fact I do like it somewhat but right from the first spin of this album i've felt it always gets this recording off on the wrong foot. Lots of tension with vocals early on until it's released after 2 minutes. This is good. "No I don't have a stomach ache, it's just my face." An instrumental workout follows with lots of organ late. "The Depth Of Self-Delusion" is more like the RIVERSIDE I love. A beautiful instrumental section though brief begins after 3 minutes as the vocals return quickly with strings. Another great instrumental passage before 4 1/2 minutes and I love the mellow ending. Excellent track! "Celebrity Touch" hits the ground running and the vocals are passionate here as well as we get some good organ runs. It turns atmospheric before 2 1/2 minutes with warm vocals. Love it! It then kicks back in but contrasts will continue. A nice guitar solo after 4 1/2 minutes with chunky bass lines. Such beauty in this one at times like old school PORCUPINE TREE. "We Got Used To Us" is a top three with those multi-vocals to start that are replaced by Duda alone. How emotional is this song? Thankyou God! "We never talk when we fall apart". Man this is too close to home lyrically. A gorgeous track and so emotional.

"Feel Like Falling" is an interesting song with Duda's at times higher pitched vocals along with some vocal harmonies. Another feel-good tune for me. "Deprived(Irretrievably Lost Imagination)" is another top three tune. A warm atmosphere with intricate sounds as Duda's warm and reserved vocals join in. So beautiful, especially just before 2 minutes. A very cool atmospheric section 4 1/2 minutes in that builds somewhat slowly to a full sound. Nice. "Escalator Shrine" is an over 12 1/2 minute ride. Starting out slowly we get almost spoken vocals before 2 minutes. Both vocals and instruments turn more passionate slowly. It then kicks into a higher gear with organ out front 5 minutes in. Synths then lead before it turns heavier before 6 1/2 minutes. Themes are repeated. It's absolutely gorgeous 10 minutes in and the vocal melodies late to end it with that atmosphere is fantastic. "Coda" is a short piece with picked guitar, atmosphere and laid back vocals. Beautiful to say the least. Now my other top three is the two part track on the bonus disc called "Night Session" worth over 22 minutes and is worth the price of admission alone. An instrumental highlight that is full of atmosphere and beauty.

While many fans seem to be put-off by this recording, it suits my tastes to a tee. I'm repeating myself here but man this album is full of gorgeous melodies and sounds.

Riverside continues to distinguish itself as one of the most consistent and complete prog-metal bands of the last decade and beyond with Shrine to a New Generation of Slaves . This album uses the band's palette of dark, moody, bottom-heavy, and many textured sounds to create excellently crafted songs and a mature listening experience.

The thing Riverside does exceptionally well is reach inside the listener to touch emotional nerves that many bands strive for, but never quite arrive at. Duda's vocals are key to this; they're masculine, gently accented, and in this album, often sung in his more mellow tone. He's emotional without being contrived, and his thoughtful phrasing adds a high level of polish.

The aggressive moments of Shrine to a New Generation of Slaves are mostly instrumental, carried by Duda's huge bass lines and walls of keyboards by Lapaj. Unlike many bands in the genre, guitars are somewhat understated and melodic. Grudzinksi doesn't have any shredding guitar solos or moments that tie the listener up in knots (such as Petrucci or others); instead, he adds to the riffing or hooks or melodies as needed. This restraint may be the secret sauce that helps give Riverside a unique sound when compared to other prog-metal groups. Like Tool, it's the experience that is important, not the individual moments of a single instrumentalist.

Shrine to a New Generation of Slaves is a top-shelf prog-metal release, and worthy addition to the band's library. It's easy to approach and enjoy. For me, their debut is sets the milestone that hasn't yet been met, but with a band that is so consistently good, it's only a matter of time. Why not 5 stars? For me, the subject matter doesn't hit home. Lyrically this album is basically an indictment of pop-culture, which seems to be a required theme for modern prog bands. I don't disagree but it feels like an easy target and the result doesn't take me on much of a journey. That's a quibble for sure though; this is a great album!

Note the limited edition features a second disk with 20 minutes of moody instrumentals with a cool electronic vibe. Very cool bonus!

Songwriting: 4 - Instrumental Performances: 4 - Lyrics/Vocals: 4 - Style/Emotion/Replay: 4

Four years after the outstanding Anno Domini High Definition and with another incredible EP in the middle (Memories in my Head) the best prog rock band from Poland released Shrine of New Generation Slaves.

This album is some kind of return to the origins for the band in songs like The Depth of Self-Delusion and We got Used to Us (much in the vein of the most intimate moments of Out of Myself and Second Life Syndrome) while they also explored some new territories in tracks like New Generation Salve and Escalator Shrine where they made their particular homage to the 70's rock with even some Deep Purple-sounding keyboards.

Sadly, some other tracks like the boring Deprived and the too commercial Celebrity Touch are not so inspired, but the overall quality of the album is high. I would highlight the very missed Piotr Grudzinski's work on this album, maybe his best and most ambiental, and the general lyrical concept of the album where the band shows an acid criticism towards the enslaver work rhythm of modern society, making this album some kind of conceptual sequel to Anno Domini High Definition (not so much musically)

Best Tracks: New Generation Slave, The Depth of Self-Delusion, We Got Used to Us, Escalator Shrine.

Conclusion: Shrine of New Generation Slaves is a conservative and innovative album at the same time, offering some typical Riverside songs while they also dared to explore new territories with strong outcomes, but sadly making a pair of mistakes in the process.

Nevertheless, this is another true excellent album of this incredible band which surely should be in every prog-rock collection.

My rating: ****

Riverside is one of the progressive metal bands that has seen a lot of popularity in their genre, and as such, has inspired many other bands to jump into the genre. However, the prog metal superstars from Poland have always been a step above with their slick production and willingness to keep extending and pushing their sound and also bringing in themes and underlying concepts with each album, helping to garner individual personality between one album and another.

Such is the case with their 2013 album "Shrine of New Generation Slaves" (lovingly designated SONGS for short). This album explores through the bands heavy and moody style how people have the unsatisfying lives of becoming slaves to their work and losing control of their personal lives. As businesses find ways to satisfy their workers, or at least look like they are doing so, by installing on site gyms, and what not, they hope to get more control over their people, even getting to the point that it will cause people to stay at work more and never leaving their offices. They make people think they are giving them a better work life when in reality, they are only finding ways to control them more. This is the new slavery that Riverside is talking about and what they address in this album.

The album is made up of 8 tracks with a total duration of 51 minutes, unless you get the LP edition, which features 2 more tracks. "New Generation Slave" does an excellent job of introducing the subject, with easy to understand lyrics sung in between hard guitar riffs that build the intensity of the album until it finally unleashes with a progressive driven rhythm and a solider heaviness generated by the guitar and organ. Mariusz Duda occasionally likes to use some light effects to help texture is voice and does so on this track. If anything, it seems like it weakens the impact of the lyrics, in my view, and he does this also in "The Depth of Self-Delusion". This track is steadier and flows more like a straightforward sound with a hint of smooth, fusion texture, not unlike the sound of The Pineapple Thief on one side of the extreme to Opeth on the other side, who I often find a lot of similarity with in some cases, Riverside is a band that resides comfortably (and quite successfully, I might add) in between the poles of these bands. The song continues to utilize dynamics very well by throwing in instances of acoustic guitar and high percussive tones (similar to xylophone). You can expect an emotional guitar solo in there too, which is always a great draw to their music. The music is quite melodic and pleasant, but still retains it's dark and moody atmosphere.

"Celebrity Touch" is a bit heavier, and also is more akin to a classic progressive sound, a la "Kansas" or "Styx", but still with a more current overall feel. The melodic and catchy electric guitar riff and the nice layer of organ help to generate this sound. "We Got Used to Us" is a shorter, almost radio-friendly track showing a more mellow side of the band that also give a chance for the guitar to shine a bit, but mostly driven by lovely piano chords and notes. "Feel Like Falling" takes us into a different territory for the band with a synth heavy riff, a bit bouncy even. Of course, there is the underpinnings of heavy guitar to support the track as the rhythm pounds merrily along, only breaking for a short interval after a short instrumental break. "Deprived (Irretrievable Lost Imagination)" takes us back to a longer form at over 8 minutes as we return to the band's form of moody and emotional dark tinged songs. This track focuses on one of the band's strengths of well-written, almost poetic lyrics. The music is nice and pensive, but with a flowing rhythm, again reflecting Opeth at their most mellow (as in the "Damnation" album). Around 5 minutes, things become a bit more intense as a tricky beat generates a solid sound and preps for a nice, melodic guitar solo with twinkling piano backing it up. Then, a nice surprise when guest Marcin Odyniec provides a stellar and captivating soprano sax solo before the song is brought back to its original, pensive sound.

"Escalator Shrine" takes the prize as being the longest track on the album at over 12 minutes. A drone stays in the background as an echoing effect on the guitar gives a nice touch to a Spanish style to the introduction. The classic prog touch is evident again with a nice flowing bass line and moody keys that remind one of The Doors. Just before 5 minutes, a bass introduces a tasty, new driving rhythm and soon the entire band joins in with some great organ and then synths and guitar lines bring it all into an awesome instrumental passage. At 6 minutes, things suddenly get heavy and dark with a thick riff and vocals joining in before finally passing into an atmospheric section with a throbbing bass and layers of keys, synths and atmospheric guitars. This harkens to the melodic instrumentals of Pink Floyd, but done with the Riverside flair. After 8 minutes, the music returns to the original theme, but with some nice variation in the instrumental support. After 10 minutes, a new riff is introduced and the music develops off of this to take the track to the end. This track is what you listen to progressive music for, nice complex compositions that give the listener the challenge they need without making things too complex. It's a well-composed track that testifies to the band's creativity and talent. "Coda" finishes off the CD at this point with a short track, soft and mostly acoustic, it acts as a coda to the album, not the previous track.

If you are lucky enough to have the vinyl version, there is another disc included with a two part track called "Night Session", Parts 1 and 2. Each track is over 11 minutes long, so for Riverside fans, it's a must have. Part 1 is a nice instrumental track that utilizes the band's talent for song development, yet it has more of an improvised sound, and it utilizes a lot of synth loops which allows the band to be more creative on an individual basis, as the fill the spaces with heavenly notes and textures. This seems to pay homage to Tangerine Dream in a way, but also travels to different textures and beat through the track, never staying stuck on a single loop for too long. There is a bit of ambience and a bit of electronica in this one, pretty unlike most of the band's output. Part 2 takes on a more experimental vibe. As a soft noise drone sounds in the distance, the guest saxophonist returns (with the alto sax this time) and provides a real solo, with only the droning sound as back up. Looped percussion comes in and synths ebb and flow making things atmospheric while the soft sax continues. Things turn away from the dark feeling at the start and actually start to sound cheery with just the right shot of jazz inflection coming in and some soft, airy vocals swirl around. It almost seems that you are not listening to Riverside now, but it's nice and it shows the bands ability to be not only versatile, but to do it in an improvised setting. Things go back to a more pensive and ambient state as in its last few minutes, but you are left with a pleasant and relaxing mood.

This is an all around great album that shows the many sides of the band that many had previously thought of as being more one-sided, and even more so if you have the bonus vinyl tracks. But you even hear that in the main album too. It is easy to see why this band is a favorite among lovers of progressive music, mostly those that like the heavy side, but still love the atmospheric and moody edge that this band provides. The album is well-polished. It is one that most people will not regret having. There is no ground broken on the album, but it still satisfies that need to have great progressive music that you don't necessarily need to invest a lot of time in to appreciate it.

Shrine of New Generation Slaves, Riverside's fifth album, is an exploration of the human condition and its submission to the relentless demands of modern life. Less aggressive in relation to the masterful Anno Domini High Definition, those led by Mariusz Duda use their melancholic streak to develop a mature and thoughtful work.

The album begins with the pitiful New Generation Slave, a long intro that leads to the excellent ballad The Depth of Self-Delusion, where the acoustic guitars and the halftime of the percussions stand out clearly. Conventional rocker Celebrity Touch gives it a more dynamic touch, then falls into the arms of melancholy with the beautiful and deeply sad ballad We Got Used To Us. The versatility of the Poles comes hand in hand with the electronics and eighties Feel Like Falling.

The calm returns with the serene and very jazzy Deprevid, which I consider to have left over the last 3 minutes. The super progressive Escalator Shrine, where the influences of the most cosmic Pink Floyd are present in much of its almost 13 minutes, is the best of the album, along with We Got Used To Us. The short and naked Coda is the ideal final appendix, where Duda's deep voice is accompanied by heartfelt acoustic guitar.

Although the Shrine of New Generation Slaves is a step below the Anno Domini High Definition, it is still a work of the highest quality, as is the great form of the band, which confirms them as one of the Progressive rock flagship groups of the 2000s.