The fourth album of a Prague based art rock band calling themselves Different Light, ‘The Burden of Paradise’ is nothing, if not incredibly diverse. Taking the sounds of classic rock and a great many other styles of yesteryear, and compiling them in a twenty-one-track album, this is quite an ambitious project. Despite proving that the band is evidently very adventurous, the end result is an album that is masterfully crafted in the way it turns out, making for an inconsistently enjoyable piece of work.

Led onward by the vocals of singer Trevor Tabone, the music cycles through everything from classic progressive rock, to symphonic, to even progressive metal. Overall, while I understand that the band is testing the grounds quite a bit with this one, it does feel incredibly cohesive, and the songs as a result have very an excellent flow to them.

The songwriting is excellent here, it’s consistent. On top of the album feeling a bit too long for its own good, the album’s structure is in a state of greatness. Different Light deliver a very good impression with their newest material, and I really hope that they will embark on tour promoting it.

Buy ‘The Burden of Paradise’ from the official Different Light website.

Verona-based Italian prog metallers Fatal Destiny are a new name on the international scene. Their debut album “Palindromia” creates a convincing case that other prog bands from Italy may just have a challenger in sight for their reign as the modern metal champions of the country. Essentially, Fatal Destiny embrace a similar modern metal culture flush with melody as Fates Warning and Dream Theater do in their respective soundscapes, but with an additional touch of modern take on the genre.

The band open convincingly with “Palindromia”, immediately making it known to the listener that this is going to be a melody-driven metal album. But once we get to “Beyond Dreams”, there’s only one word appropriate to describe the track: amazing. The interaction dynamic between the vocals and the rest of the mix is superior, and the instrumentals create an intricate, yet massively melodic landscape when they aren’t busy in dynamic riffage and pummeling percussion. The chorus is something else: an uplifting, elevating clean-vocal driven passage, instantly catchy and memorable.

Later, “Leave Me Here” provides another brilliant moment with more melodic approach which leads into yet another unforgettable explosion of clean vocal melody over a heavy instrumental landscape during the chorus.

“The Gate of Time” toys with straight up melodic metal at the start of the track but quickly counters with punishing metallic riffage. Here, too, the chorus doesn’t disappoint. “Feel Alone” leans on progressive metal more, which breaks up the album’s pace somewhat for additional diversity. “Human Factory” afterwards provides yet another highlight on the record.

One thing’s for sure: there are enough great melodies on “Palindromia” to push Fatal Desitny to the forefront of modern metal bands in Italy. They should be expecting much bigger crowds at their performances as word begins to spread. A new Italian metal star has been born.

Stay in touch with Fatal Destiny on Facebook.

In the time span of just few months, Belgian prog metal band Jusska released two EP’s. After l’homme de l’ombre released in August 2015, the band is back with Tsuki — an EP which features ex-Monuments drummer Mike Malyan on the three songs it’s made of.

Tusk starts off with “Cascade,” a progressive metal number with superb djent hook. “Geisha” has it all — perfectly balanced vocals and music, it’s made of both slow and fast parts.

“Limbo” is a perfect example of the multi layered sound of Jusska. Complex drum fills courtesy of Malyan, subtle guitar riffs by Leander Verheyen, and excellent singing of Iason Passaris, and you get a winning formula.

Although short, there is so much to hear within these three songs on Tsuki. Even after hearing it more than 10 times, there is still more to be discovered.

You can get Tsuki by Jusska on Bandcamp here, and follow the band on Facebook.

Released February 12th, 2016, IV is the fourth solo release by New York based progressive rock musician Pontus Gunve, and second full band Progressive Rock release. Expanding and evolving the classic band format by including cello in the mix, IV makes Pontus as one of the most promising and impressive progressive metal bands on the scene today.

If you’re a fan of stellar guitar riffs and technical solos, IV is definitely going to interest you. The band’s sound established on those previous releases could definitely be defined as a happier kind of progressive metal, focusing on melodies in major scales. That signature sound can still be found here, but IV feels so much heavier than those other releases.

Gunve has really outdone himself with the guitar parts on this release. Tripp Dudley (drums, tabla) and Bryan Percivall form the rhythmic backbone of the EP and keep the songs on track but also have their time to shine, coming in clearly through the mix. The heavier sound of this album can definitely be attributed to the amazing mix of the album. Where this release really shines are the cello segments masterfully performed by Eric Allen. He is definitely what makes difference between IV and every other average progressive release today.

But now to talk about the music itself! IV opens up with a ten-minute piece named “Ten,” a journey through epic riffs and melodic solos and walls (courtesy of Eric Allen) that quickly touches on melodic themes similar to ones established on previous albums. “Ten” travels through some epic, technical territory, taking a brief sojourn with some classic rock-like passage towards the middle of the song, then re-exploding back into the frenetic pace of the earlier portions. What might seem like a strange combination of genres on paper turns out to be a pretty banger song when put together by the guys in the band.

Another standout track for me is the fourth song, “Red Silver.” It’s a catchy, bouncy, focused song with a great solo.

“Felix” has some massive atmosphere, with Allen absolutely killing it over some amazing groove work. Honestly, you can listen to any track off of IV and find something to enjoy. It’s an amazing release from an amazing progressive metal band.

Buy IV from Bandcamp.

The creation of an experimental album is not an easy task, as those who try to accomplish it are tasked with blending the three essential elements which define the sound of this genre (heaviness, dynamics and atmosphere) without relying one particular one too much. If it isn’t perfectly centered, the whole thing will go lopsided. In terms of experimental music, the slightest imbalance in your sound might throw off the whole album and break the listener’s immersion. Fortunately, the three New Yorkers from The Benzene Ring handled this balancing act with great sensitivity and skill in creating their gorgeous piece of experimental rock/metal, Crossing the Divide, which came out in November last year.

Clocking at almost 80 minutes, Crossing the Divide doesn’t feel long, given the genre’s usual album lengths. This album is filled to the brim with great moments within its perceived runtime. “And We Are Become As Strangers”, the opening track, kicks off the record with an almost one minute build-up, mostly comprised of piano. The track gains momentum with the addition of spoken words and a massive piano riff over the established atmosphere.

It is in the second track, “Jerks In the Obsolaire” where The Benzene Ring start introducing themselves. The song contains remarkable sections, coming all the way from soothing singing to frenetic rocking.

Other highlights are “Miles Past the Mark” with its combination of clean singing formatted in a psychedelic/indie vibe; swirling and noisy “Alarms”, which has an eerie feel to it; nothing less eerie and almost folksy “Wraits and Spectres.” “Ascension” brings back piano in the game which tirelessly goes forth and back to further explorations within the jazz and rock circles.

Mixing-wise, Crossing the Divide is really well-made as well. The guitars are crisp and clean, the drums have a lot of punch and sound roomy, the bass is actually audible, and the keyboards fit in between the other components perfectly, rather than just being layered on top of the mix. There obviously was great attention to detail involved, and the album is much better because of it. Get it from Bandcamp.

New York based composer Pontus Gunve has just put out his new release, an EP titled “IV.” This excellent, five track EP is available from Bandcamp. We talked with Pontus about the new music.

How do you usually describe your music?

Progressive Instrumental Rock – or Cinematic Rock.

What is your writing process like?

Sporadic and intense. I go through moments of 5 pieces in a week – and then nothing for a month. I have to be inspired at the right moment – or sometimes go through themes in my head and try to develop those in to full pieces.

Who or what is your inspiration, if you have any?

As a guitar player : I like Steve Vai for fluidity, Dave Gilmour for extra dimensional soul, Zappa for head expansion, Marty Friedman for interesting shred, Yngwie Malmsteen for outrageous shred and 16 notes runs, Angus Young for pure guitar tone and Fripp for brainy stuff.

Continue reading “Interview: Pontus Gunve” →

Swiss progressive rock group The Crazy Juggler’s Prog Orchestra, besides having a great name, also makes great music what is probably best documented on their latest opus, a studio album titled “Planet Euphoria – Part I.”

The band is already working on the follow-up to the mentioned album, and here is what they had to tell us about their work.

Define the mission of The Crazy Juggler’s Prog Orchestra.

Our mission is to combine the two generations of progressive rock music (70’s prog and the modern one) in a very various and experimental way. The Crazy Juggler, a character from our story behind, conducts the Prog Orchestra – ourselves, the band – to tell the story of Utopia from album to album.

Tell me about the creative process that informed your album “Planet Euphoria – Part I” and the themes it captures.

It was clear for us very early to create a story about a paradise-like Planet, the first album our characters find together and experience adventures on the search of paradise. It was an interesting challenge to find the suitable melodies and themes to this beautiful landscapes. As the music itself the fantasy of the lyrics don’t have any limitations, and that’s the best motivation for us to write music.

What is the message you are trying to give with “Planet Euphoria”?

It’s the message of an amazing planet, a paradise-like place called Euphoria, on which people and other creatures can live together in peace and freedom and in harmony with the nature and its beautiful landscapes: The classical utopian story.

Continue reading “Interview with The Crazy Juggler’s Prog Orchestra” →

Alms is short for Aitor Lucena Martinez Solo. The Spanish musician has recently put out an album “An Irosmic Tragedy” and here is what he says about it, among other things.

Hey Aitor. How are you doing?

I’m fine, thank you! Enjoying the great reception of my new album!

You just released new album titled “An Irosmic Tragedy.” How do you feel about the release?

It’s being absolutely fantastic. It took two years since I started composing “An Irosmic Tragedy” until its release. It’s been so long because of my duties at work and University, but the final result is totally worth it. I’m very happy with it and, as I said, its reception is being awesome.

Continue reading “Interview with Alms” →

French metal band Heartlay released their second EP titled “Remedy” last November. The project leader and composer Aaron Sadrin talked with Progarchy about the EP, and more.

What made you go for the name Heartlay?

Aaron Sadrin: Between April and August 2014 i picked up around 100 band names, i was looking for 2 words fused into one but without too much letters at the same time. Heartlay appeared to be the smartest choice both aesthetically and ethically, it meant to me the unveiling of all falseness within human’s most powerful muscle, the heart.

In a less metaphoric language it suggests that i wanted to make music with a cathartic devotion.

How do you usually describe your music?

Soulful, dark, honest.

What is your writing process like?

I always write everything alone in my home studio. It’s not that i’m obsessed to be a one man show but i feel more in harmony with myself and my visions rather than with other people to make music. I can do whatever i want with no compromise and that’s great.

Who or what is your inspiration, if you have any?

Inspiration comes from sulfur, this is what makes me feel emotions which interests me as a musician. When I’m not strictly working in the studio I enjoy walking in the night alone to find extra-musical ideas, like concepts and lyrics, I get lost in my head.

What is your favourite piece on the “Remedy” EP?

Perhaps The Battle or Black Walls. But it differs from the perspective, tracks like Bring You Down or Through The Window are also fun to play on stage, it depends of periods.

What makes “Remedy” different?

Remedy is different because the music on it does not try to take advantage of a new hype music genre. It exists by it’s own consistency, it’s own qualities and style, i’m interested at exploring my own shades and cracks through the music i want to make and being honest is the most important thing to me, this is what makes it unique i think.

What should music lovers expect from “Remedy”?

They can expect from these five songs a feeling of controlled anger combined with ambivalent melancholy and a fetish for sonic explorations.

What kind of emotions would you like your audience to feel when they listen to your music?

Adversity.

Which do you like most, life in the studio or on tour?

I can’t really choose between. In the studio you’re building the piece of art, it’s a long, calm, introspective process and performing on stage is the opposite of that. You play the consequence of what you did in the studio, and you have to adopt a more social minded character to make a good show. Performing live is cool, it’s just a completely different job and experience, but even if i enjoy that i’m am more of a studio person.

Pick your three favourite albums that you would take on a desert island with you.

Nine Inch Nails – The Downward Spiral
Tool – Lateralus
Clint Mansell – Moon Soundtrack

Get “Remedy” from Bandcamp.

Orymus is a slick melodic metal band from Switzerland that first caught my ear with 2012’s ‘Escape to Reality’. Sounding close in sound to the band Savatage, the band may not have had the most original sound in progressive metal, but they executed the sound with passion and power all the same. As the band has gone on, their sound has certainly drifted increasingly towards a more accessible side of metal, and now at the point of their sophomore studio album ‘Miracles’, Orymus has drifted almost completely to melodic, rather than progressive sounds in metal. This is not to say that the technicality has been completely abolished, but it is clear that the band is becoming deadset on a more conventional rock song format. ‘Miracles’ may meet some unsteady ears from the progressive community as a result, but all things considered, the band offers some strong songwriting with this record. At the same time though, there are some issues which can make the album less powerful than it could have been.

As I thought originally with ‘Escape to Reslity’, Orymus takes quite a bit from the progressive metal veterans Fates Warning and Queensryche, possibly leaning a little more to the latter. Many bands are driven by the sounds of their influences in progressive metal, and Orymus is no exception to this. It would have been nice to hear a little more originality from the band though, and to a minor extent, Orymus is developing a more steady sound for themselves. When compared to ‘Escape to Reality’, the less proggy sound takes the band away from the Fates Warning comparisons, but does not make them any more original sounding. Instead, here the band sounds like quite a few modern hard rock bands. Orymus is still developing more of an identity for themselves however, although the more simple approach they take here is admittedly less impressive.

Although the songs are generally conventionally structured, they are well written. The vocalist here has a beautifully melodic voice that can also get aggressive when it needs to. There is also such a great variety to the music, but the songs all hold some memorable ideas going on for them. There is a dark vibe to these deeply melodic compositions, and a crisp sound to the whole thing makes it easy on the ears. One of many things I enjoy about Miracles is it’s organic style of production. The drums here sound lively, and the guitars sound warm and not over-polished. The guitar solos here are incredible, and when the band gets technical, I find myself very impressed by what Orymus have to offer.

Support Orymus by getting Miracles from Bandcamp, and following them on Facebook.