CALIGULA'S HORSE

And in the light of these thoughts, we might see how the true "radiance" lies within the beautiful contrasting tones of the entire LP - the presence of both lighter and darker shades is a really pleasant surprise as it was also much needed for Caligula's Horse's catalogue. Some powerhouse tracks like the ballsy opener 'The Tempest' or the prog-anthem 'Slow Violence', an electrifying single that offers a tremendous blend of powerful riffs and unrivaled rage, or the fast-paced 'Valkyrie', all offer a counterpoint to the nurturing and calm nature of tracks like 'Salt' and 'Autumn', the only problem of which might be that they could have eventually transmitted the same feel with a slightly shorter length. But opposed to this we have a powerful album closer - 'The Ascent', which probably sums up excellently both the thematic and the sonic ventures of 'Rise Radiant', which nevertheless remains a very strong entry into the discography of Caligula's Horse.

1. "The World Breathes with Me" (10:00) melodic and atmospheric, even as the metal chord progressions and drumming begin. (18.5/20)

2. "Golem" (5:20) chaotic and volatile, just like its namesake. The first two motifs are throwaways but the chorus shows some promise. The instrumental passage following the second chorus is great: so focused and disciplined. (8.75/10)

3. "Charcoal Grace I: Prey" (7:48) the opening sounds like top notch bombastic symphonic prog metal to me. After a 90 second intro the music empties out leaving only some sparse notes emanating from a "distant" MIDIed keyboard (guitar generated, I'm assuming). This near-empty space is where Jim Grey enters as a singer. Gradually, the rest of the band rejoins and ramps up into some serious Prog Metal. Great performances from drummer Josh Griffin and bassist Dale Prinsse as well as Sam Vallen on guitars. Jim's vocals in the chorus parts are a bit weak--like pop stylish, not power metal. The rest of the song elements are all TOOL-quality. The song ends with 45 seconds of those spacious "distant" guitar notes before bleeding into . . . (13.5/15) 4. "Charcoal Grace II: A World Without" (6:48) for the first minute, pensive guitar arpeggi are layered within soft-played drums and bass, but the there is a big crescendo to end the Intro. After this the music drops down to low, delicate levels--including the vocal performance of Jim Grey that begins in the second minute--until the 2:02 mark when the band jumps back into higher volumes. The music, however, remains rather tame and melodic: as if a pop-oriented love song were being delivered with metal instruments and effects but still using the simple, melodic chords and rhythms. At the fourth minute we begin a cool tension-filled instrumental passage in which the group's ominous rhythm pattern provides all of the entertainment (no solos) and tension. Then they ramp back up for more simple chord play to support Jim's continued vocal delivery until a Coutnry-twanged solo guitar finish. (13.375/15) 5. "Charcoal Grace III: Vigil" (3:22) solo arpeggiated acoustic guitar play before Jim enters with a delicate MAYNARD KEENAN JAMES vocal to match the acoustic guitar. Beautiful stuff that definitely continues to support and embellish the band and album's heavy, metallic atmosphere in the RIVERSIDE/MARIUS DUDA way. Very cool song! Which leads perfectly into . . . (9/10) 6. "Charcoal Grace IV: Give Me Hell" (6:13) rising out of the beauty of the previous song, this one ramps up in two or three steps before stepping back into a kind of MYRATH-like motif with Jim Grey's vocal muted with some heavy processing. It's cool, it's menacing, it's but ends up being a little weak in its full effect. (Because of the b vox? or the standard melody lines?) The cool "desperate" rap vocal in the fourth minute would be cooler were it not so familiar (coming from the SAGA/LINKIN PARK/FATES WARNING/OPETH/PAIN OF SALVATION tradition). Unfortunately, it's rendered so well that I have to admit that I love this part: it's so powerful--it actually saves what is otherwise a rather poor song. (8.875/10)

7. "Sails" (4:31) delicate finger-picked shoegaze electric guitar arpeggiated chords open this one before Jim Grey's gentle and delicate voice joins in. At 53 seconds in the swooning lead electric guitar replicates Jim's main melody while the rest of the band jumps in to support. With the next round of vocals (now doubled up) the palette of support instruments creates a GENESIS Wind and Wuthering like lushness--like "Your Own Special Way." At the three-minute mark, after the second go-round of the vocals, the band ramps up for an excellent fiery/impassioned guitar solo before guitar and band revert into the Wind and Wuthering melody of lushness. Interesting! And well done! (8.875/10)

8. "The Stormchaser" (5:57) a great prog metal "ballad." Love the play of the rhythm section and atmospherics created by the guitars--and the awesome little solo in the fifth minute. Great vocal performance from Jim Grey. (9/10)

9. "Mute" (12:00) Jim Grey's plaintive voice minimally supported for the first minute before the full band joins in with great bombast. (Sounds a bit like KARNIVOOL's Ian Kenny.) Just as quickly the sound palette returns to bare-bones spacious simplicity wit h slowly arpeggiated electric guitar, synth, rim shots and spaced out bass and bass drum notes as Jim's tender voice sings breathily. The choruses are more dynamic and almost heavy, but it's not until the band moves out of the vocal passage at 3:50 that full prog tech metal sounds start spitting, stuttering, rapid-firing, and djenting out. Something is off about the way the producers have mixed Jim's voice: almost hidden within the djenty walls of sound. It's as if Jim is trying to sing a theatric near-operatic aria over/within only metal musicians and their metal sounds to accompany him! At the end of the seventh minute the music cuts away leaving a gulf of open space that is gradually filled by synths, gentle guitar and keyboard and tuned percussion notes, and flute. It's super pretty-- almost achingly beautiful--but then at 8:14 the walls of symphonic metal come cascading back in, the drummer ramps up and the lead guitar launches into a wonderfully flexible display of "tender" tech metal shredding. At 9:55 everybody stops, again, leaving an empty room that Jim attempts to fill with some shy humming, but then everybody leaps back into full symph-metal mode again so Jim and his mates can once more state their case. Then the music goes all washy and atmospheric for a prolonged keyboard outro. Nice but somewhat unsure or unclear commitment to multiple personalities. (22.125/25)

Total Time 61:59

The soft/delicate passages on this album surprise me--as do the occasional NeoProg sound palettes. I prefer the complex rhythms with atmospheric metal music and rather than the softer EINAR SOLBERG-like nuanced vocal- dominated passages.

B+/4.5 stars; a near-masterpiece of Atmospheric Prog Metal that suffers from inconsistency and a stylistic scatteredness; perhaps the band is vacillating on its future (on its commitment to hard core Prog Metal).

I would be interested to hear what this would sound like if the guys had just plugged in and played with no studio trickery or over the top use of compression and wall of sound, but instead had cut through the blanket with a knife and let us hear just what they are like when all that is removed. There is also a lack of direction and for all the brilliance of the performance and instrumental virtuosity I found I was soon bored and wondering how much more there was to listen to before playing something else. I note that this is getting rave reviews in some quarters, with various people saying how wonderful and majestic this is, but for me the life has been choked out of it and the corpse left on the studio floor for us to examine. There is so much polish placed over the top that it is not possible to really see what this is like without it, and while there is no doubt many will think this is sheer brilliance, I am not one of them.

The sound of this album does not diverge too much from what the band did in the beginning of the decade with 'Rise Radiant', their pandemic album, whereas a stronger djent influence was becoming more prevalent, focusing a lot on technique and resulting in a more compressed and massive sounds, in comparison to their cleaner and more "stripped" dynamics from before (2015-17). It has to be mentioned that the vocals are as good as always, Jim Grey is undoubtedly a very powerful vocalist who is able to elevate the compositions and bring them a very eerie, majestic and emotive edge. Sam Vallen displays his signature guitar sounds serving the band just perfectly, while the rhythm section is mostly entirely delightful and well-done.

It is the compositional aspect of the tracks on 'Charcoal Grace', however, that seems to have been overshadowed by the more technical approach, as the two tracks bookmarking the album (and clocking in at ten and twelve minutes respectively) get slightly diluted over the course of their playtime, as if there was not a clear direction or a clear vision of where these songs should arrive. Surely they are packed with graceful riffs, intense hooks, and gorgeous vocal melodied, but they seem to be less focused than previous longer compositions done by C-Horse, who had cemented themselves as masters of suspenseful heavy progressive music, always leading you to a very powerful climax through the band members' manifold creative ways, as they had perfectly achieved that with 'In Contact'. This aspect of their music seems to be mostly missing here.

It is recaptured mainly and seemingly in the shorter tracks like 'Golem' or 'The Stormchaser', two highlight tracks. The title track, dissected into four pieces, as ambitious and powerful it may seem, fails to leave a lasting impression of a strong, oriented epic song, perhaps missing a very recognizable and memorable underlying thread or theme, perhaps being occasionally overplayed. While it has its highlights, whether it be the beautifully intricate introduction to 'Prey', or the acoustic tranquility of 'Vigil', or even the chorus build-up of 'Give Me Hell', it is too fragmented, which could also be why it was presented as four tracks rather than a continuous long piece.

In essence, 'Charcoal Grace' is a good and strong album, nicely ornamented, but mostly lacking the punch and focus that the band's usually got, and it will probably go on to be one of the more polarizing releases by Caligula's Horse.

Although only released at the end of January 2024, "Charcoal Grace" has been in the works since 2020. After the release of their previous album, "Rise Radiant," and due to the pandemic, the band was unable to tour and promote their most recent work, so they decided to use this time to compose. Meanwhile, due to the circumstances of the time, "Charcoal Grace" became the band's deepest and most sentimental album, delivering an incredible variety of both dark and luminous musicalities, all skillfully conducted under one of the voices that can currently be considered one of the most distinctive in progressive metal. It's also worth noting that the album is one of those works where its individual pieces might not make an impact or excite the listener on their own, but when evaluated as a whole and dealing with the range of emotions employed in the songs, everything can change.

Would it be an exaggeration on my part to consider "Charcoal Grace" a kind of somber listening? When I encounter its composition, it feels like I'm entering a darker and deeper sphere of the human experience. I feel like an invisible listener, witnessing the echoes of desperate cries emitted by souls abruptly thrown into the void of isolation. "Charcoal Grace," with its enigmatic aura and enveloping melancholy, seems to weave together the souls of its listeners, guiding them through a labyrinth of dark and introspective feelings.

"The World Breathes with Me," with its 10-minute duration, marks a captivating start to the album. The track begins with subtle guitar work, immediately revealing the harmonious purpose that the band intends to convey throughout the record. The drums gradually enter, building the music to a point where it bursts forth with the group's characteristic intensity, albeit with a slightly softer approach than usual. From dark, introspective moments to brighter, expansive ones, the track unveils a rich and immersive musical narrative. The music reflects artistic maturity, with each section contributing to the overall narrative without losing cohesion or emotional strength. Meanwhile, the lyrics offer a powerful and moving portrait of the complexity of human experience. They remind us of the importance of facing challenges with empathy, courage, and determination, always seeking to bring light and meaning to the shadows we encounter along the way.

"Golem" stands out as the heaviest, most direct, and energetic track on the album, featuring excellent guitar riffs and a dynamic, powerful rhythm section. The vocals on this track are polished and controlled in the verses but become intense and energetic in the choruses, heightening the emotional intensity of the music. Indeed, the choruses are a high point, laden with emotional charge that inspires a desire to sing along loudly with the music. The track is an explosion of energy and emotion, anchored by a skilled ensemble of instrumentalists. It showcases the band's ability to create a powerful and memorable auditory experience, leaving a lasting impression on the listener and eliciting an intense, visceral emotional response. In the lyrics, there is an exploration of universal themes of pain, guilt, and the quest for redemption or meaning amid desolation. The use of vivid imagery and intense metaphors creates an emotionally charged atmosphere, inviting the listener to reflect on the deeper aspects of the human condition and personal suffering.

The album's title track is a true journey divided into four distinct parts, each represented by a separate song, resulting in a sensational epic spanning approximately 24 minutes in duration. This complex and multifaceted composition is likely the highlight of the album, challenging the listener to a deep immersion to understand all the nuances and layers that make it so special.

"Charcoal Grace I: Prey," with its nearly 8-minute duration, stands out as the longest part of the title track. The song begins with delicate guitar arpeggios, establishing an introspective and almost orchestral atmosphere. Then, the band enters prominently, creating a solid foundation that supports the melody, culminating in a moment of silence before Jim's melodic vocals emerge over a beautiful harmony. The musical piece displays a strong instrumental balance, alternating between moments that could be considered aggressive within the album's context and others that are softer and more contemplative. It's a personal and emotional journey of someone confronting their own contradictions and toxic influences, seeking to find their own path and voice.

"Charcoal Grace II: A World Without" is the second part of the composition, beginning with the same arpeggios from the start of the previous track, this time played on acoustic guitar. Meanwhile, subtle guitar notes and drumbeats gradually create a growing atmosphere, setting the stage for the joint entry of all instruments in an energetic manner. However, soon after, the music becomes serene, and Jim introduces the first vocals of the piece almost in a whisper. This is one of those songs that start subtly, without revealing much initially, but gain intensity and depth over time. The climax of the song is marked by a guitar solo that explodes into an emotional catharsis. The intensity of emotions and the poetic imagery used create a profound atmosphere of self-exploration and a search for meaning and healing.

"Charcoal Grace III: Vigil" represents the smallest and most subdued of the four parts of the composition. The song begins with acoustic guitar, vocals, and some soft bass notes, creating a delicate and introspective atmosphere. There's a sense of anticipation, as if at some point the drums will come in and provoke a sonic explosion, but that doesn't happen. The sonic landscape continues within a constant subtle and emotive state, both instrumentally and in Grey's vocals. It's a calm and introspective pause, an opportunity for the listener to breathe and absorb the subtle and evocative emotions that permeate this part of the composition. Lyrically, there is a deep exploration of emotional conflict and the search for meaning and redemption through powerful poetic imagery. The lyrics evoke a sense of inner confrontation and personal transformation in the face of life's adversities.

"Charcoal Grace IV: Give Me Hell" represents the fourth and final part of the title track, also being the darkest and even funereal at certain points. In this section, the intensity reaches a new level, with a pulsating rhythm section and a guitar that radiates immense strength, including a powerful solo. The vocals, meanwhile, are skillfully accentuated with palpable anger, even when they seem on the verge of delivering a more placid line. It's a dramatic and powerful closure to an intensely captivating musical journey. An intense emotional and spiritual journey, exploring universal themes of guilt, forgiveness, and self-acceptance. The poetic imagery and expressed feelings reflect a profound confrontation with the past and a search for authenticity and redemption.

The four parts of "Charcoal Grace" serve as a common thread exploring the dynamics - or lack thereof - between a child and their father. To better elucidate the narrative style used by the band, if you're familiar with the more conceptual works of Marillion, the way the story unfolds here bears some resemblance to the band's approach, especially emotionally, reminiscent of the album "Brave." It's a testament to the transformative power of music when combined with a powerful and emotive narrative, resulting in a deeply meaningful and memorable artistic experience.

After such a powerful and profound act, it is comforting to be embraced by a piece like "Sails," which allows the listener to breathe to the sound of something simpler and beautiful. This song is truly one of the most beautiful ever composed by the band, a stunning ballad filled with drama and melancholy, and adorned by formidable vocals. The music stands out for its simplicity and stripped-down beauty. The arrangements are delicate and engaging, creating an intimate atmosphere that invites reflection and contemplation. The lyrics convey a sense of struggle, resignation, and persistence in the face of life's difficulties, while also reflecting the emotional and spiritual depth of confronting disillusionments and obstacles, yet resolving to move forward and find meaning even in the most adverse circumstances.

"The Stormchaser" is a track that demonstrates exceptional balance in its moods, perfectly representing the essence of the album. It also stands out for its various excellent vocal lines. As with the entire album, the band once again demonstrates exceptional skill in executing music cohesively, resulting in a truly sparkling piece. It's a song where diverse emotions are carefully intertwined, creating a rich and immersive musical narrative, while delivering a theme that explores self-acceptance, interpersonal relationships, and confronting adversities. The poetic imagery and metaphors used create an atmosphere of introspection and a search for meaning amidst life's challenges.

"Mute" is a brilliant choice to conclude the album, offering a finale that couldn't be more impactful. The song begins with an impressive display of Jim's vocals, reaffirming why he is considered one of the best vocalists in progressive metal. Soon after, the entire band joins in with an energetic and orchestral sound. Throughout its 12 minutes, the band takes the listener on a rollercoaster of different vibes and nuances, delivering heavy, soft, and reflective moments, all within an extremely accessible development. The seamless transition between different atmospheres and musical styles is executed masterfully, keeping the listener engaged from start to finish. As a conclusion to the album, "Mute" perfectly encapsulates the essence and complexity of the entire journey presented. It's a piece that defies expectations, offering an exciting and satisfying conclusion. Lyrically, there's a sense of inner struggle and search for meaning amidst a challenging world. The poetic imagery and symbolic language create an intense atmosphere of confronting adversity and longing for redemption and renewal.

"Charcoal Grace" definitely highlights some of the best songs in the band's entire catalog, showcasing their ability to offer freshness and innovation in a niche like progressive metal, where surprising and innovating can be challenging in today's music scene. This album is a touching collection of insightful, well-crafted, intense, and truly progressive songs. Ultimately, "Charcoal Grace" is a testament to the vitality and creativity of Caligula's Horse, solidifying their place as one of the leading voices in the world of contemporary progressive metal.

Changes are what the 2020s are all about the CALIGULA'S HORSE has certainly not eschewed its own series of challenges. In the last four years since "Rise Radiant" was released the band has officially seen guitarist Adrian Goleby exit from the team and now officially a quartet with Sam Vallen handling all guitar duties on the band's sixth studio album CHARCOAL GRACE which still rock all those Steely Dan influenced add2 chords like no other. CHARCOAL GRACE gracefully offers nine tracks at 62 minutes of playing time and although the famous twin guitar attacks have now been completely abandoned for a more streamlined approach, the album continues the plethora of polyrhythms, the clusters of complexity and the same overall atmospheric ambience meets djent-ish chugging sessions all dressed up with Jim Grey's fragile vocal intricacies.

Taking on a more Riverside meets Leprous demeanor, CALIGULA'S HORSE has traded the dueling axe action for a more keyboard saturated series of drifting cloud covered atmospheres that find heftier contrasting bouts of prog metal reinforcement. While tamped down a few notches from top peak prowess mode, CHARCOAL GRACE delivers a rather predictable procession of prancing prog rockers like a well-trained steeplechaser navigating a predictable course of action. The band plays it safe and sticks to the playbook for the most part with the expected prog by numbers approach that many a modern prog metal band has fallen victim to and an approach that aims to drift subtly into a more "commercial" acceptance by taming the rough around the edges aspects while amping up the melodic contrapuntal resonance of the complimentary layers of instrumentation.

"The World Breathes With Me" offers CALIGULA'S HORSE fans an instant comfort zone game plan with lush atmospheric developments before erupting into the chugga-chug marathon of djent-fueled guitar plucks and corresponding bass and drum obsequiousness. Add an obligatory four part concept suite of the title tracks and you can't go wrong but the problem is that at this point in the 21st century, this style of prog metal sounds completely out of fashion and in many ways bands such as CALIGULA'S HORSE have become a fossilized self-induced retro scene of their own idiosyncratic making. Is it bad to continue to make music that doesn't "progress" like the term "progressive" implies? Well, that's the million dollar question of course and left to the individual to decide for him / herself but for yours truly there comes a time where it sounds like a band is beginning to regress and there, my musical friends, is the pasture CALIGULA'S HORSE seems to have retired to after a fruitful run on the racetrack.

It's always difficult for me to be too harsh on bands that have found a comfort zone and a fanbase and have a difficult time balancing the progression part with the cash in to make a living in an increasingly more expense planet to reside upon but at this point this type of prog metal just sounds generic to me and therefore no matter how well played and how perfectly executed in every way, what really matters at the end of the day is how do the tracks speak to me and after sitting through CHARCOAL GRACE and imbibing the sonic frequencies that bathe my very soul, i am left feeling indifferent and unmoved by the dramatic series of sounds that are supposed to evoke some sort of reaction. To be honest, the airy fairy sounding bands in the prog metal world never have appealed to me as much as the more adventurous thrill seekers but every once in a while a band like Pain of Salvation or Leprous proves me wrong with instantly contagious emotionally connective composiitons. Unfortunately CALIGULA'S HORSE doesn't evoke that same visceral reaction and CHARCOAL GRACE does even less than previous offerings. Not a bad album by any means but sounds a bit too middle of the road for my liking.

This is a six track album, though the big title epic in between is split up into multiple songs, kind of like what Marillion did with Fuck Everyone And Run, and An Hour Before It's Dark with their big epics. Probably the only "bad" thing about this stellar release, but I can certainly live with it, and there are two also very stellar bigger tracks of The World Breathes With Me and Mute that aren't split up, so I am not too bothered by it.

So what I appreciated from Rise Radiant was their readiness to change things up into more of a djent kind of style, and they continue that forward. The thing that is evident upon this fact is the lead single of Golem, my favorite track off the album. It has meaty, chuggy guitars, whilst also having that particular Caligula sound that they carried throughout their career. I really enjoy this song, as it just feels like a true improvement of their sound in not just a total shift, but in an evolutionary upwards motion. Listen to this song in comparison to something like Slow Violence or Marigold. Certainly similar sounding, but there is a clear maturity that exists within Golem, and the rest of the album that I never quite found within the rest of their projects. For that matter, I certainly appreciate it a lot more.

This maturity probably has something to do with the band's lead guitarist, Sam Vallen, taking his hand at producing and mixing the album, and he is really good at what he does here. There is a certain ethereal energy that goes through each of the songs, particularly the longer, and some of the more quieter tracks. I really enjoy this very floaty, almost mystical production, and I bet if he continues to produce albums for the band he'll get better and better.

However, I think the real meat this album does right is a new genre mix within the Caligula sound. Adding on top of the djent, they followed a bit of what groups like Earthside had done and combined post rock within the mix. Now, this post rock is rather small, admittedly, only really noticeable in the bigger tracks, and it certainly isn't as highly invigorating as what Earthside had done, but there is no denying that this band has been exploring a bit more textures and ambience to make something very beautiful. The title track, the 22 minute epic of Charcoal Grace shows this more post rock direction better, as whilst it is very metal and heavy hitting, there is an underlying layer of beauty that I find to hold similar feelings to groups like Mogwai and We Lost The Sea. You can hear it a lot more within the parts of A World Without and the beginning of Give Me Hell. Honestly, this is very awesome for me, not only as a prog fan, but as a post fan too. Seeing a band experiment, at least slightly with more genres into their mix is super fun to hear, especially for a band that has been as long running as Caligula.

I really have zero idea if there is anything really negative to say about this album, as each track holds some very great substance. Maybe Sails and The Stormchaser is a bit forgettable within the mix, but man that guitar solo on Sails certainly is powerful, and The Stormchaser just has a lot of oomph within its five minutes that I cannot help but to still hold at least a lot of love for the two of them.

It is a bit odd for me to have a masterpiece this early in the year, since usually the really good stuff comes a bit later, usually in the summertime, but man January has turned out some stellar stuff, and Charcoal Grace is amongst the heavy hitters of this year already. If we get something like Charcoal Grace, I wouldn't be surprised if this year ends up being as universally loved as 1974 or 1997. Definitely 100% give this one a shot, even if you may not quite enjoy progressive metal I can certainly say this is a record that could really appeal to anyone. Don't quote me on this if I end up being wrong, but I think this may be Caligula's Horse's magnum opus right here. The band can only move upwards from here.

Best tracks: Golem, Charcoal Grace, Mute

Least best tracks: Sails, The Stormchaser

"Charcoal Grace I: Prey" and the title in 4 parts: cinematic intro as we say today; orchestral eyeing VAI, DREAM THEATER, technically perfect; Jim singing airy, soft while the bass vibrates; sinister air, varied with a softness fusing metal and dreamlike progression; the finale increases, making me think of the sweet madness of PAIN OF SALVATION; a crystalline arpeggio follows with "Charcoal Grace II: A World Without" on a latent musical derivation, a strong progressive moment after this introduction; consensual verse on an atmospheric Devin, on a fruity TESSERACT; immersive, spatial break, we left in this ship far from the earth, from the pandemic, the softness of the guitar amplifying "Charcoal Grace III: Vigil" with the raw arpeggio launching Jim on a minimalist phrasing, laying down this quadrap- tyque looks fluffy, I hear the snow falling; acoustic and melancholic ballad leering on LEPROUS then "Charcoal Grace IV: Give Me Hell" continues, basic metronomic riff on an imposing rhythmic base; PAIN OF SALVATION in the background, yes it's CALIGULA'S HORSE which ends with the violins in the distance; the sound becomes black, it makes you want to headbang, to pout, like this lost and abandoned child, the ravages of divorces spoken; the gentleness of the start has let the heaviness settle in; take a break reminding me of SAXON, the phrasing then the maelstromic metallic djent explosion takes you to the guts, the air becomes animal, wild, brutal, yes your head can no longer control itself; a final guitar solo pulls you together before the obvious grandiloquent flight, immense over these 24 minutes.

"Sails introductory guitar arpeggio; the ballad, the nursery rhyme to rest from this flood, it seems done on purpose; the Rotheryen solo yes I didn't see it before but now the feeling is close; a slow melody with a feeling of keyboards from Banks too, ah the prog is good sometimes. "The Stormchaser" takes up a sustained air for this piece which leans towards the fabulous PAIN OF SALVATION, as much for the voice as for the complex tune, as much for the captivated choirs as for the energetic chorus; there is the beauty of the guitar break with a dose of spleen, there is the easy melody which unfolds and bewitches; clear, effective. "Mute" with Jim who tries his hand at a capella, like Einar from LEPROUS; the explosion of grapeshot, return to the spleen ballad, hold a shivering flute; the return of heavy grapeshot suddenly, sheltered but not Jim soothes us with his high-pitched voice, a siren who distills his words to hypnotize us; break with the divine flute, not a Scandinavian one that recalls ancient times, a current one that amplifies the progressive movement; the sound becomes post-rock, extremely emotional before leaving metal-melodic with Sam who now bewitches us.

CALIGULA'S HORSE OMNI as I like to write it.(5 in the genre)

Stylistically the material on "The Tide, The Thief & River's End" is a continuation of but also a developed and more mature version of the progressive/alternative rock/metal of the two preceding releases. Caligula's Horse are a technically skilled unit fully capable of delivering relatively sharp and hard edged metal riffs and rhythms, challenging instrumental sections, and progressive song structures, but also more subtle, emotional, and organic sounding progressive/alternative rock. Sometimes I think I´m listening to a combination of A Perfect Circle and Dream Theater, but fortunately Caligula's Horse are much more than just a copy of those artists. They create some very emotional and intricate music, which is highly memorable and melodic (listen to the big hook closing "Into the White"), while still not being easily accessible vers/chorus pop/rock.

The basis of the music is guitars, bass, drums, and vocals, but the vocal part of the music is quite intricate with both harmonies and choirs being an important feature of the music. In addition to that some parts of the album features guest performances on flute, violin, clarinet, and piano. "The Tide, The Thief & River's End" is as a result a very dynamic release. The dominant mood is melancholy, but Caligula's Horse still manage to incorporate uplifting moments, so this is not a particularly dark release. It´s cleverly composed and even though it´s pretty accessible, it´s complex enough to challenge the listener, both with the performances, but also with the dynamic shifts and the composition style.

"The Tide, The Thief & River's End" is produced by guitarist (and main composer) Sam Vallen, and Vallen has crafted a sharp, powerful, and detailed sound production, which suits the material perfectly. Upon conclusion "The Tide, The Thief & River's End" is a strong sophomore full-length studio album by Caligula's Horse. They´ve moved forward while still holding on to what made them great on the previous releases. A 4 star (80%) rating is deserved.

(Originally posted on Metal Music Archives)

Both the EP title track and "Vanishing Rites (Tread Softly Little One)" are around 5 minutes long making "Colossus" a 10 minutes long listen. The first thing I notice when listening to the title track is that it´s one of the more heavy and aggressive songs from the early catalogue of Caligula's Horse. At the same time it also features beautiful melodic song lines, a soaring chorus, and quite exquisite vocal harmonies and choirs. "Vanishing Rites (Tread Softly Little One)" is not quite as heavy (although it certainly also features some very heavy parts) and features a more playful mood and interesting dynamic changes. Both tracks are high quality compositions and production wise a step up from the sound on "Moments from Ephemeral City".

The original EP is probably a hard to find release these days, but the two tracks are featured on the InsideOut Music reissue of "Moments from Ephemeral City" as bonus material, and function well there as part of that album. A 3.5 - 4 star (75%) rating is deserved.

(Originally posted on Metal Music Archives)