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Artificial Language biography
ARTIFICIAL LANGUAGE was formed in 2015 in the fusion of the members of different projects. Shay LEWIS, the vocalist was added later. The band is Jonathon SIMPSON (Keyboards), Josh RIOJAS (bass), Victor CORRAL (guitar), Charlie ROBBINS (guitar), and Jeron SCHAPANSKY (drums). It took almost 4 years to make their debut album "The Observer" who combines influences from HAKEN and LEPROUS with a nice transition between heavier and calmer sections displaying some passionate vocals lines.

Bio by rdtprog

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4.08 | 12 ratings
The Observer
4.03 | 8 ratings
Now We Sleep

ARTIFICIAL LANGUAGE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)


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Showing last 10 reviews only
 Now We Sleep by ARTIFICIAL LANGUAGE album cover Studio Album, 2019
4.03 | 8 ratings

Now We Sleep
Artificial Language Progressive Metal

Review by alainPP

4 stars ARTIFICIAL LANGUAGE a group that you randomly pass over while searching again and again for a group that comes from DREAM THEATER and LEPROUS in this case!

1. The Back of My Mind bucolic intro, you will see at the end of the last title that you will come back here; strong attack between vocal softness and strong orchestration bordering on djent; the velvety guitar solo, it melts in the mouth, the rhythmic bass and 6 minutes which pass without realizing it 2. Endless Naught modern tune, with a phrased vocal, not raspy, (ah yes you have to laugh a little), although at the beginning; the harmony holds the limelight on a Leprous, a Tesseract, with Victor and Charlie again throwing solos all over the place; the chorus is catchy, fluid and effective, the riff chiseling 3. Pulses and the airy piano variation, a melody that flows naturally, the guitar starts with its little solo from the start, the composition changes habits and brings freshness 4. Further from the Surface continues by giving more space to Shay who sings subtly, reminding me of Leprous, Haken and other Maraton; a smooth ersatz here that surfs on prog metal, djent, hard FM; 5. The Wild Haunt with its symphonic orchestration, distant violins, grandiloquent synth and this airy final break, we would ask for more in a little longer

6. Trail of Lights crystalline piano before launching a new heavy rock pop melody with a djent touch; for all tastes, a fresh sound with a progressive blood in the range which makes us forget both the tune and the instruments, lulled by both 7. There's No Bottom to This on the same plot, modern rock more than cheerful progressive; air guitar which even draws on the grandiloquent side of the QUEEN, surprising with this bossa nova-saloon break from ... living room 8. Keep Yourself Hidden for a crazy jazzy-soul tune, if the title were linked together we would have a progressive plot without a doubt; we are on neo-prog metal which is a pleasure to hear; a profuse fundamentalist could listen without saying that 'it's too loud'! the few seconds of final accordion are enjoyable 9. Now We Sleep for the last and long piece with an evolving and enjoyable crescendo, yes there too; a gentle, melodic rise, Shay which shows the range of his voice, a bit of A-Ha; ambient-soaring break yes the prog is hiding everywhere now; go country break, bucolic, astonishing progression final breathtaking creation!

 Now We Sleep by ARTIFICIAL LANGUAGE album cover Studio Album, 2019
4.03 | 8 ratings

Now We Sleep
Artificial Language Progressive Metal

Review by TCat
Special Collaborator Honorary Collaborator / Retired Admin

4 stars "Artificial Language" is a progressive metal band from the US formed in 2015. They released their debut album in 2017, and a few years later, in May of 2019, the released this, their second album, "Now We Sleep". The line-up for the band has remained the same for both albums, namely Shay Lewis on vocals; Victor Corral on guitar; Charlie Robbins also on guitar; Joshua Riojan on bass; Jonathon Simpson on keyboards; and Jeron Schapansky on drums. This album has 9 tracks with a total run time of just over 38 minutes. The first and last tracks are each over 6 minutes, and they bookend the shorter tracks in between which remain between 3 and 4 minutes each.

"The Back of My Mind" starts with atmospheric guitars and sustained keys making a soft beginning, but slowly building until a sudden explosion of heavy guitar chords catapult the song into prog metal territory as expected, and the vocals start in. After a solid beginning, things slow down and become quite dynamic with melodious keys and vocals and sudden onslaughts of heaviness. The vocals match the attitude of the music and Shay definitely has the right voice for this dynamic music. The shifting meters and tempos are all well thought out, and during this six minutes, shows us the palette that this band can work with. There is a great guitar solo and plenty of heavy riffs, but there is also a lot of softer sections and times when the synths also shine, but the overall tone is heavy with plenty of progressive moves.

So now, the album plays through several shorter tracks. "Endless Naught" begins with the same style as previous, but moves to some very surprisingly touching and softer passages, moving between heavy and soft passages with hardly even blinking an eye. You can be listening to a rousing guitar solo in one moment and then hearing a piano rhapsody the next, all of this in a space of under 4 minutes. Of course, the vocalist is able to keep up with no problem, and the music still moves smoothly along. "Pulses" has a more jazz style to it, but remaining with the heavy and progressive sound. Song structure is non- traditional, even through these shorter songs with surprises around every turn, but everything still sounds concise and smooth. This complexity continues in "Further From the Surface", but returning to the heavier sound overall. With this quick track, they still seem to find time to insert an excellent guitar solo. The band proves that if you don't have to deal with the standard song structure, that you can still develop excellent progressive metal in short tracks.

"The Wild Haunt" continues with this smooth complexity moving from heavy sounds involving a balanced use of guitars and synths, suddenly moving to a pensive jazz passage, going to a heavy section and returning to the main theme before it ends with atmospheric synths. "Trail of Lights" is the first single for the album. Even though it has the length of a radio friendly track, it still doesn't shirk in complexity, and the playful synths contrast nicely with the heavy guitar chords and the vocals are dynamic and full as usual. This progressiveness in short dynamic chunks continues with "There's No bottom to This" (which features a carny-style piano in the middle) and "Keep Yourself Hidden" (which returns to a prog-jazz-fusion style). All of the instrumentalists prove their talents are finely honed as they all have time to shine with excellent guitar solos and embellishments shared with plenty of synth and keyboard passages that keep things interesting and add little hints of humor and plenty of variety throughout.

The last track is the 7 minute title track and features the regular vocalist and a guest vocalist Michael Lessard from "The Contortionist". A nice combination of plucked strings, synths and piano chords make the sound reflective. The vocals start with acoustic guitars together with a symphonic atmosphere build in intensity. Electric guitars join in from time to time, but these heavier passages quickly get swapped out by pensive and mellower sections, and you get another gem of a track, this one gets more time for development, which bring it up to a higher level. Excellent track, they saved the best for last for sure.

This album is very dynamic and interesting with some astounding complexity and emotion throughout. The one complaint I have is that the album is too short and some of the shorter tracks could have been even better if developed a little more. But the shorter tracks also prove that so much ground can be covered musically when you don't have to devote so much time to creating standard song structures where verses and choruses have to be repeated. The shortness of most of the tracks work both to the detriment and strength of this album. This band is very talented, and I would hope to see more music from them with a little more experimentation and development within songs. The best tracks here are the two tracks that bookend the album, but that's not to say that there isn't anything interesting in between, because there is. A bit more development would have made this even better. 4 stars.

Thanks to rdtprog for the artist addition. and to NotAProghead for the last updates

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