Oceana, The Pattern (Time To Kill Records 2021)

Italian progressive death metal trio Ocean release their first full-length album twenty five years after their inaugural EP.

In 1994 the band began to come together with the thought of creating melodic death metal music. They issued a demo and an EP in 1996, then went silent on the recording front for a couple of decades. They are back now, realizing the original intention. The band is Massimiliano Pagliuso (vocals, guitar, bass, keyboards), Gianpaolo Caprino (guitar), and Alessandro “Sancho” Marconcini (drums).

The sound of waves and a crying baby are the opening bars of the first song, followed by a short melodic voice interrupted by coarse croaking. Acoustic guitars dance around swelling electric ones. The percussion becomes increasingly persistent, urgent, and menacing, and the guitar turns stabbing. Then voice is back, bigger than before. This is “Hiding Lies,” and it is a flag for the entire set.

The band’s music is described as melodic death metal sometimes. I think progressive elements are stronger here, but there is a large and abiding melodic element so I see where the recurring handle comes from. The appealing factors for me throughout the album are the recurring juxtaposition of light and dark, harsh and quiet, and the unfiltered emotional expressions. The longer you listen to the album the more it grows on you.

I especially appreciate the lead guitar moments were technical ability shines through. The epic fourteen-minute “Atlantidea Suite Part 1” is a stand-out track in this regard and as a summary and emblem of the intent for the overall set. This album will appeal more to the prog crowd than the death metallers out there.

The Pattern is out now. You can pick it up from Time To Kill Records at their on-line store, or the ever-ready Bandcamp.

Links.

Bandcamp, https://oceana.bandcamp.com/

Facebook, https://www.facebook.com/oceanabandofficial/

Time To Kill Records, https://timetokillrecords.bigcartel.com/category/oceana

Oceana, The Pattern (Time To Kill Records 2021)

Dvne, Omega Severer review (Metal Blade Records 2020)

The new EP from Dvne captures some of their new music and reinvigorates some of their well-known work.

Edinburgh, Scotland Prog Metal band Dvne will have a new album out in 2021. In the mist of time between now and then, they have released an EP that has two songs: one new, and the other a re-recording of a favorite tune from the band’s Aurora Majesty release of 2015.

The band is Victor Vicart (guitar, vocals, and keys), Dudley Tait (drums), Daniel Barter (guitar and vocals), Greg Armstrong (bass), and Evelyn May (keys). I found out about them via Psycho Las Vegas, and I have been a fan ever since. For many people, Prog is an acquired taste, perhaps because of its compositional density – it requires participation from the listener. I like it in just the right amounts; I know when to listen and when to stop.

The new song is “Omega Severer,” to which the EP owes its title. It is heavy on the synthesizers. I do not mean that as a negative criticism – the song is ten minutes long and there is a lot going on throughout the journey. There are multiple voices, heavy guitars, quiet moments and outrageously loud ones. The complex nature of this type of music often means that these sort so transitions are expected, and here they all are. The possibilities are truly endless but artistry and talent are required to make something enjoyable to listen to and memorable. This song hits all the marks, and more.

The re-recorded song is “Of Blade And Carapace.” I liked this song the first time I heard, and the re-recording is excellent. It is a very active piece, with rapid movements and a pulsating, compelling nature.

Bandcamp is the place to collect these songs. Link below. I am anxiously awaiting the full album in 2021. Recommended.

Band photo by Johannes Andersen.

Links.

Bandcamp, https://songs-of-arrakis.bandcamp.com/

Facebook, https://facebook.com/DvneUK

Dvne, Omega Severer review (Metal Blade Records 2020)

Fates Warning, Long Day Good Night review (Metal Blade Records 2020)

Fates Warning has released their biggest album yet and it has all the trappings of a milestone.

Back at the beginning, Night on the Bröcken (1984) was something very different for the times – we were in the midst of the NWOBHM. That first album had a an occult theme (which I really appreciated) but it was the Progressive Metal elements that were the most important sign of something completely different, and you can hear them in there if you listen. Queensrÿche is another example – their first album (the self-titled EP) was also Power Rock with occult elements and they, too, emerged on the forefront of Prog, along with Dream Theater and … Fates Warning. I knew about Queensrÿche first because I was so taken with their song “The Lady Wore Black,” but it was Fates Warning that really stuck with me through the decades because of their compositional ingenuity. Look back and listen through the long catalogue of this band (on Spotify, say) and I think you will be amazed.

The new album finds Ray Alder and Jim Matheos working together writing the music. There are thirteen songs on Long Day Good Night, which is the band’s 13th album. It listens like a tour through the world Fates Warning has created over the years and a few special glimpses of things we have never seen before. It is Progressive Metal of course, and complex, but it also has many heavy linear passages that forge a straight-forward groove.

After a three minute soft, eerie, and somehow reassuring intro, “The Destination Onward” lands the first hard punch. It is eight minutes of structure you could build the rest of the album on, from the stabbing guitar assertions surrounded by heavy riffs to the fibrillating percussion to lithe lead break. And of course the soaring vocals. “Shuttered World” is next and it is a little more abrupt, while “Alone We Walk” is pensive and also curiously frenetic. Songs like “Under The Sun” are quiet and lyrical in their fullness and objective beauty. Others are aggressive and challenging, like “Scars.” The long-form is here, too, the strongest example of which is “The Longest Shadow of the Day” with its amazing bass lines and unforgettable guitar work. Nothing is left out here and there is no filler, either – it is simply excellent.

Long Day Good Night is available right now in many different forms and functions. I am convinced this is going to turn out to be one of my favorite Fates Warning albums. Highly recommended.

Links.

Website, http://www.fateswarning.com

Bandcamp, https://fateswarning.bandcamp.com/

Facebook, http://www.facebook.com/FatesWarning

YouTube, https://www.youtube.com/user/fateswarningvideos

Fates Warning, Long Day Good Night review (Metal Blade Records 2020)