SUBTERRANEAN MASQUERADE

I am going out on a limb here and say that Mountain Fever, Subterranean Masquerade's fourth full-length release, is the best progressive metal album I have listened to so far this year, together with Soen's new album Imperial. The Israeli combo has it all: extraordinary musicianship, infectious songwriting and tremendous arrangement abilities that allow them to naturally weave into their music an incredibly vast array of influences - from 70s progressive rock, to contemporary prog metal, to extreme metal, to Oriental folk music. Most importantly, Mountain Fever manages to assemble an impressive set of songs that are technically complex and yet incredibly accessible, perfectly blending power, melody, emotions and virtuosity.

Everything about Mountain Fever is impressive. There is a dazzling amount of styles, influences and ideas on display across its ten songs. The core of the music revolves around an exuberant and dynamic form of guitar-driven progressive metal not unlike that of Pain of Salvation, with music that moves incessantly through peaks and valleys conveying a wide range of emotions, and where power and technique are firmly put at the service of melody and soulfulness. But songs then suddenly explode in djenty metallic interludes and furious death metal assaults, bringing to mind bands like Caligula's Horse ("Ascend"), Opeth ("For the Leader, with Strings Music") and fellow countrymen Orphaned Land. Meanwhile, the softest passages hark back to the jazzy, vaguely psychedelic prog rock of the 1970s and of contemporary bands like The Flower Kings ("The Stilnox Oratory"). Elsewhere, the music is pervaded by strong oriental folk influences that emerge powerfully in songs like "Mountain Fever", "Ya Shema Evyonecha" and "Somewhere I Sadly Belong", the latter an exceptional Floydian piece combining harsh extreme vocals in the verse (courtesy of guest singer Ashmedi of Assyrian black metal band Melechesh) and gospel female singing in the soulful chorus (performed by British vocalist Jackie Hole).

You may think there is already enough meat on the bone here, but Subterranean Masquerade beg to differ, and add to the mix lush symphonic arrangements featuring cellos, violas, violins, woodwinds and brass, which inject incredible colour and variety into the music. The use of traditional percussions and instruments like the bouzouki, the oud and the lute achieves a similar effect and further strengthens the folk flavour of the music. Meanwhile, singer Davidavi "Vidi" Dolev (at his first full-length album with the band) puts in a massively histrionic performance that is as varied and creative as the music itself. His clean vocals are powerful and emotional, somewhat reminiscent of the magnificent Daniel Gildenlöw (Pain of Salvation). But he also resorts to earth-shaking death metal growls, operatic singing, semi-spoken vocals, and even throat singing, depending on the mood of the music.

A normal rock/metal band would have written at least three albums out of all the riffs, melodies and ideas that are included on Mountain Fever. A sloppy progressive metal band would have written one messy album that suffocates under the weight of its ambition. Subterranean Masquerade instead wrote the perfect album, seamlessly merging the myriad of ideas and influences into ten attention-grabbing, distinctive pieces of prog heaven that possess the exuberance and panache of the best work by Devin Townsend. This is one of those albums that work on many different levels: it is immediately likeable, you can headbang to it, even dance to it, but it also has so much depth in the arrangements that it retains immense value on repeat listens too, as every time the listener discovers new details and nuances that had not noticed beforehand.

Everything on Mountain Fever is pushed to impressive levels, from the clean and powerful production (which involves top sound engineers such as David Castillo, Jens Bogren and Tony Lindgren), to the amazing artwork by Costin Chioreanu (Leprous), to the intelligent and poetic lyrics penned by Vidi, to the impressive cast of guest musicians that includes, among others, drummer Matan Shmuely (Orphaned Land), who puts in a performance that is a masterclass in nuance and complexity, and lead guitars on "Mångata" by Idan Amsalem (also Orphaned Land).

Mountain Fever is the full package and has almost no faults and limitations. If I were to nitpick, the album slightly loses steam towards the end, where "Ya Shema Evyonecha" and the clean-vocal middle part of "For the Leader, with Strings Music" come across as slightly less inspired and somewhat self-indulgent compared to the rest of the material. But everything else, and the album as a whole, is so strong that this minor dip in quality is easily forgiven, also thanks to the strong emotional ride of closing track "Mångata".

If you are into progressive metal you really ought to give Mountain Fever a chance. It is easily one of the best albums that have come out in this genre in the past decade and a strong contender for best album of 2021 in my book. I am actually both embarrassed and excited that this is the first album by Subterranean Masquerade I ever listened to. Embarrassed because I cannot believe that I managed to overlook this incredibly talented bunch for so long (their first album dates back to 2005). Excited because I cannot wait to delve into the rest of the discography of this amazing band. If you do not yet know Subterranean Masquerade, I promise you will feel the same way after giving Mountain Fever a spin.

[Originally written for The Metal Observer]

Subterranean Masquerade is the Israeli group founded in 1997, working in post prog metal, progressive neo metal rock'n'roll. Their first opus of 2005 surprised me with this experimental, psyche and dark prog bent. Their 4th is said to explore the countries modern, traditional music with brass from the Balkans, bouzouki, black metal and gospel, some traces of jazzy and folk, devastating riffs and a confusing orchestral side. Guests from Orphaned Land and Melechesh come to glorify this little gem, the notes of which I will tell you.

"Snake Charmer" on heavy melodic retro prog, catchy on the rhythmic, soft voice, powerful single, a bit of an all-rounder which follows with "Diaspora, My Love" ballad with a crescendo mixing prog metal and oriental sequence, final death-dark à la Pain Of Salvation for the animal side, a very beautiful spleen guitar solo right in the middle before the band's signature and its growl voice. "Mountain Fever" and blazing brass intro, Doley's voice like that of Roy des Kamelots, then a groan that breaks the mood; melodic solo until a singular, confusing break, tribal with drums, violins, ideal for dancing in all directions, paradoxical sublime oriental section, musical oxymoron with chaos and sweetness, whisper and growl. "Inwards" and an intro from there, proven folk-troubadour, festive, sidereal sweetness, the oriental at the table with melody, then the riff and the voice of death which send heavy, bluesy solo, soft phrasing voice, jazzy , then it goes up, gets carried away, intense brass with sax, voice à la Axl de Guns N'Roses, orgasmic squirt. "Somewhere I Sadly Belong" continues on the same rhythm at the beginning: then surge to infernal Holy Moses, raw death metal then rock cover again to Guns; singular mix, a gospel song and a Hammond organ saving from musical wreck for purists but a title which will not leave indifferent; very confusing.

"The Stillnox Oratory" vocal break with Dolev who provides here on a romantic ballad with finesse on piano and strings; grandiloquent, aerial guitar solo, fruity and divine; emotion in bars, synth break then heavier final with the return of a growl voice skilfully mixed with emotional rhythm, there is Faith No More in it, magical. "Ascend" it drops, organ, placed rhythm, Dolev's voice over several octaves, the single from the album with an obvious chorus and then this divine, joyful, tribal orchestral break, oxymorian rock; the 'Oioioi' makes you want to sing too. "Ya Shema Evyonecha" in Hebrew, I suspected, mystical and violent; growl, brass, riffs, world music brewed together; the whistle gives the start for a crazy break fusion where the balkans invite you with the violin to dance and make a pact, loudly! "For The Leader, With Strings Music" starts again on the violent and nervous death-black metal which shows the true face of the group; you held on, well done, the musical break that follows is one of the most beautiful, melodic, melancholy, intimate, the sax which also surprises for an over-vitamin crescendo. "Mångata" with guitar, bouzouki, ballad, nod to the former singer, nostalgic post rock for this reflection of the moon on the water; Idan from Orphaned Land coming to throw some notes and allow the title to rise, Pain Of Salvation coming back to me. Subterranean Masquerade hit hard by mixing a little more his musical influences; it's sweet, strong, singular, ethnic and musical, it's groove, death, dark, extreme; it is varied, raw, inventive and interrogative; a singular fusion, creator of dark-heavy prog in an inventive musical melting pot.

1. Suspended Animation Dreams dry guitar, schoolyard crisis in the background, the cinematic before its time and a jazzy sax which comes to discredit, an Indian flute but where are we? 2. Wolf Among Sheep arrives in a latent, lascivious, oppressive, calm atmosphere, but Paul in a calm growl calls out to us; violin afterwards, laughter, hilarious as I like; a delicate acoustic piano arpeggio which gives into the Andalusian, a plaintive guitar, a must for a sound apart between dark, melodic and progressive; 3. No Place Like Home with this paradigm between the sensual jazzy side and the growl voice for their differences, for the Opethian research of the time when certain progues refused to admit it; slow post dark rock variation which drifts into a Balkan atmosphere with the sinister violin 4. Kind of a Blur airy piano interlude followed by the appearance of the violin à la RONDO VENEZIANO, solemn, emphatic, majestic 5. The Rock N' Roll Preacher returns to dark rock where the growl voice is sung and discredits; is it beautiful or unbearable? break with guitar arpeggio, cymbals and melancholic drift, languorous phrasing, angelic choirs, piano on a soft rock ballad which will flirt with the sounds of PINK FLOYD; return with trumpet and growl confusing again,

6. Six Strings to Cover Fear in the atmosphere of KING CRIMSON, quickly broken by this howl to which you will have to get used, otherwise you will stay on the platform, and you would have to with the progressive space which comes afterwards, long melancholy doom rock lament with a fruity, divine guitar solo; 7. Awake for the epic piece, a quarter of an hour of reverie, wandering, travel, musical amalgamation; 5 minutes and we set off on the distant wanderings of Mike OLDFIELD, the violin and piano variation becomes symphonic, airy; 11 minutes and the return to heavy rock which leans towards the wonderful BELIEVER, also avant-garde; brief innovative 8. In short, there's nothing better to cultivate your ear.

US formed, Israel based band SUBTERRANEAN MASQUERADE have been around for two decades at this point. Those 20 years have seen them release two EPs and three full length albums. "Vagabond" is the most recent of the latter and was released through Swedish label ViciSolum Records in the early fall of 2017.

This is a band that made a name and a reputation for themselves as a highly creative progressive metal band back in the day. These days I'd say that they are primarily a progressive rock band, using elements from progressive metal to flavor their compositions rather than the other way around. That being said, these folks are rather more creative and innovative than merely combining genre elements from these two genres, as there is a lot going on here in addition to that.

Even of one didn't know that this band operates out of Israel, most people would probably guess as much. If not pinpointing this band specifically to Israel then at least to the Middle East. This due to the liberal amount of world music elements from that region that is a mainstay throughout this album. Additional percussion details, violins using the tonal range particular to that part of the world, reeds and brass doing pretty much the same, and occasionally also female backing vocals of the kind you would have to be uninformed to not categorically place somewhere in the Middle East as far as origins goes.

These elements are used in material that does, indeed, combine elements from progressive metal into a greater whole that correlates closer with progressive rock. Folk music details are obviously a big part of this greater picture too, and a few token jazzier details does appear here and there too. The saxophone is used frequently throughout as well, complementing both the rock and the metal oriented escapades, and effectively in both modes too I should add. The piano also has a central role throughout, often alternating with the organ to supplement whatever guitar mode that is present - be it wandering plucked guitars, firm guitar licks or more majestic and dominant metal riffs.

The band have opted for clean lead vocals in the greater majority of the vocal sequences, but still with room for some dark growls to take over now and then, either taking the lead vocal spot or as an underlying contrast to the clean and melodic lead vocals. Both aspects works very well too, surprisingly also when the band isn't operating inside a metal context.

Subterranean Masquerade describes themselves as a symphonic prog powerhouse these days, and that description comes across as rather appropriate. More progressive rock than progressive metal these days, and with something of an emphasis on easy to like material. Despite some rather advanced structures here and there this album comes across as both compelling and inviting, a production that should have a fairly broad reach despite of rather than because of it's at times complex and sophisticated movements.

A slight letdown is the cover of Bowie's classic Space Oddity at the very end. It is difficult to replicate the sheer amount of emotion in this song, especially when you decide to alter the song, even if only ever so slightly. In this case by reducing pace and adding a darker, heavier sheen, plus adding violins at the end to possibly emphasize the drama. This take on it is rather good, but it lacks the momentum and subtle emotional grip of the original. An interesting cover, but not a cut that elevates the overall album experience as far as I'm concerned.

If you tend to enjoy innovative and creative progressive rock, and finds the notion of a band that blends in a liberal amount of world music elements, quite a few metal touches and a select few extreme metal details into a progressive rock context to be appealing, then this latest production from Subterranean Masquerade is one that warrants an inspection.

That one came out as a surprise for me, I wasn't expecting another album by the band so soon, after waiting for about 10 years between the highly regarded debut Suspended Animation Dream and The Great Bazaar, this is a treat especially considering that this has now become my favorite album by them. So this is the third album by multinational band Subterranean Masquerade, now seems to be comprised mostly by Israeli musicians, the line up from the previous album is pretty much intact, only with a slight change Paul Kuhr is not participating this time. The album continues where the previous Great Bazaar album stopped. More over the middle eastern influences picked up in the Great Bazaar are even more evident and now brought to perfection, also the orchestral almost symphonic influences are still present, helped by the heavy growling and the metalic nature of the bands sound, giving the music a very rich and colorful blend. Strangely enough although the music is metalic and some impressive growling vocals are involved (sparsely actually) the outcome is not that heavy because, first of all the always present rich instrumentation softens the music, but also the melodic nature of the songs, and the somewhat cheerful vocals of Kjetil Nordhus (Green Carnation) definitely do the trick. The arrangements overall and particularly to string instruments, and brass are stellar, a real craftmanship. I love how every part with its own different instrumentation flows so naturally to the other, making this a very fluid and accessible album.

Place for Fairy-tales is a fantastic opener, going through several parts, from the middle eastern falvored intro it then continues with a saxophone and piano, great sound! it gets heavier half way while the saxophone is wailing and continues to a middle eastern party, the Orphaned Land connotation is inevitable here. Nomad although doesn't abandon the middle eastern influences, is perhaps the heaviest song on the album introducing us to Eliran Weitzman growling, man this guy is good! his vocals suits the music perfectly adding that missing edge to the metalic riffing. Kippur is another killer track here, beginning like something off of Yossi Sassi's head (Orphaned Land) an exploding klezmer metalic riff drive the song until it slows down to the sound of vocals and no less than an accordion! top that with some violins as the growling comes back, this is good. Half way through distortions gives way to a danceable 80's like synth, I did not see this coming, beautiful work. Daled Bavos is again a very rich and textured instrumental, besides the excellent melting pot of heavy metal and middle eastern influences, there's some beautiful emotional playing here, check out those clarinets and violins! The final Hymn Of The Vagabond again blending all the band's styles together in a perfect way, there's a strong Indian feel here with tablas and female vocals, all go together so well as the songs ends in a big celebration. I can't help but feel that the David Bowie Space Oddity cover closing the album is out of place, there isn't much to it only it is played slower with an almost doomish flavor, good but nothing special.

Subterranean Masquerade continues to push the boundaries of their music to the point where the debut now is entirely different beast. This is their most coherent album imo, and marks a peak in their creativity, songwriting and sound. Don't miss on this album! Easy 4 stars.

Review # 69 The multinational / Israel based band Subterranean Masquerade with its rather unique sound is back with a brand new album! I learned about them with the release of their previous work The Great Bazaar (2015). That was an album I really liked, listened to it a lot, and played lots of its songs on my radio show. And finally, I included The Great Bazaar in my annual Top-10 albums list of 2015. Almost 2 weeks ago I learned about Vagabond, and having in mind how much I loved the previous album, I added it in my music collection without a second thought. Vagabond continues where The Grand Bazaar stopped. Everything is present again; the beautiful melodies, the strong Mediterranean and Middle Eastern 'essences', the sudden changes in music styles and even the growls from time to time. Although the sound and style are almost the same, the major change is the addition of Brass instruments which makes their sound even richer. I will not get into details this time, because the album is still fresh, and I haven't listened to it as much as I would like; because I believe that this is an album that requires lots of listenings in order to be appreciated. But based on the first 3-4 listens, I have to say that it is a very good work, with strong and very interesting compositions. Subterranean Masquerade are inviting us in a "Mediterranean Feast" of sounds and colors once more, and it's up to you to accept the invitation. I did, and haven't regretted it. This is a 3.5-star album for me, but I will add half star more, for the excellent and unexpected cover version of Space Oddity, that closes the album in the best way possible! 4.0 stars

Israeli based multinational band SUBTERRANEAN MASQUERADE was formed in the second half of the 1990's, and unless my information is false they were originally based in the US. Following an initial studio album in 2005 the band disappeared from sight for some time, but reappeared in 2014 with the single Home, which was subsequently expanded to an EP as a digital release. "The Great Bazaar" was released at the start of 2015 through Israel label Taklit Music, and is the band's second full length production.

While based in Israel, it would appear that this band is a multinational entity, sporting members from several different nations. On the EP Home from 2014 this resulted in a fairly widespread sound to be explored, with exotic details from a possibly Middle East origin as something of an identity mark. That aspect has developed quite a bit in the year or so that have gone by between that EP and this album.

The compositions here do follow some rather similar patterns. Gentler and more delicate passages are paired off with sequences of a more powerful and intense nature, where the former sports regular vocals with a harmony and melody based mode of delivery while the latter fairly often are provided in a darker toned and more guttural tinged growl-oriented style. The more intense passages on this album are much closer aligned to regular progressive metal however, and the occasional extreme metal tinged instrument details found on the 2014 EP aren't much of a feature this time around, although they do make a token one off appearance on concluding track Father & Son.

Instead this is a production that resides safely inside a regular progressive metal context, albeit with a few twists. Orchestral arrangements are used fairly liberally throughout, as careful supplemental backdrops as well as in roles of a more dominant nature in select sequences. The exotic, Middle Eastern tinged details are generally explored within these arrangements, but on this occasion they have a more Earthy expression, and at least to my ears with somewhat more of a klezmer tinged sound to them too. An additional aspect explored more in depth on this album are gentle, jazz-oriented interludes, not to the extent of being a prominent or dominant feature, but as a carefully used effect on select occasions adding depth and scope to the overall album experience.

The CD edition of this album comes with two bonus tracks, the A side and B side of the original single "Home", both of which are quality additions to this album, but also creations that are subtly different in style, mood and atmosphere - as previously commented upon.

If you tend to enjoy progressive metal bands that adds elements from folk music and world music to their compositions alongside elements from symphonic classical music, then Subterranean Masquerade is a band you probably should inspect at some point, especially if you have an affection for other Israel based progressive metal bands that fits this general description.

Israel based band SUBTERRANEAN MASQUERADE have been around in one form or another since the tail end of the 1990's, and appeared as recording artists in 2004 and 2005, releasing an initial EP followed by a full length studio album to what I understand was a rather positive critical acclaim back then. Following this the band disappeared from sight again for a number of years, until they released the single "Home" in 2014. This production was made available as a digital download the following year, now with a third track supplementing the initial two on the physical release.

I understand that this is a multinational band that draw in a lot of impulses into their compositions, as would be natural for a band with members from different nations and cultures present or otherwise involved. In that respect the expanded digital version of this single is perhaps the most interesting one, as all three tracks are fairly different from each other.

Opening cut Home, the A-side of the original vinyl single, is a compositions that alternates between the gentle and melodic and the more powerful and dramatic, with plucked guitar details and deep, warm vocals central for the former and dark, powerful riffs and growl vocals for the latter, with a wide assortment of instrumental interludes and transitions tossed in to a rather sophisticated compositional structure, and with an inspired riff and mystical violin arrangement as a recurring feature that adds something of a Middle Eastern tinged sound to the proceedings.

B-side track Beyond the Pale is more of a vintage hard progressive rock affair, again combining features of a more delicate manner with sections sporting a harder edged expression, but shying away from a more bombastic metal sound on this occasion. Again featuring sequences with the violin, on this occasion a more careful arrangement with plucked guitar details that for me sounded like Mediterranean in style, paired off with haunting violin details that reminded me of the folk music we have here in Norway. Towards the end we're then provided with a second violin motif, this time with more of a distinct Middle Eastern touch to it.

The additional bonus track included on the digital release of this single, That Night, is a more dramatic and dark creation that stays safely put within the quirkier parts of the progressive metal universe. Again with regular interludes and transitions exploring a light toned and delicate nature, but now contrasted by more striking and intense powerful and at times challenging metal based and driven passages, complete with growl style lead vocals. On this occasion the violin is initially a part of an orchestrated arrangement of the kind that points back to western classical symphonic music as a source of origin, and then reappearing towards the end and now with more of a mystical and possibly Middle Eastern inspired tinge to it.

I don't really know how representative this expanded single is to the overall sound of this band, but as it features three rather different compositions it does showcase quite a bit about the depth and versatility of the band, and as all three tracks comes across as quality compositions too I suspect that this production would be a good start if you want to get familiar with the material of the band. In more specific terms, I'd presume that those with a general interest in bands that blends progressive metal with world music elements might want to give this one a spin, as long as they tend to enjoy growl-style vocals in such a context.

Ok. I found this album from my Spotify recommendations?seems interesting enough?loved the cover?loved the name?i'm gonna live blog while writing so it'll probably feel a bit disjointed?hope we'll like it.

Suspended Animation Dreams: The album opens up with a great acoustic guitar melody accompanied by background voices, sets the atmosphere, and then?out of nowhere, when you least expect, a fairly jazzy saxophone solo enters, rapidly accompanied by classic prog metal vocals and flute?this is a full on prog record from the start and amazes me with only two minutes?this song definitely prepares us for an amazing progressive journey 9/10

Wolf Among Sheep: This one continues in the way the first amazing song build up? but with rather disappointing vocal melodies?yet greatly followed by some good prog metal guitar fills and when you think things can't get any better?it doesn't?the problem of many good prog metal group arises in this record?unnecessary brutal vocals and sadly covers up the sheer beauty of the violin melodies of the record. The guitar reprise following afterwards with some good wankery is still good, but this song clearly can not keep up with the expectations that the first song created on me. The repetitive post-rockian guitar line doesn't help to make the song interesting either. A solid song, good for a headbang towards the end. 6/10

No Place Like Home: Great and maybe a bit folky vocals accompanied by harmonica melodies that might as well come from a western movie starts the song fairly interesting and the transition to more metal territory via spoken lyrics are great? brutal vocals does not seem out of place but nonetheless unnecessary again. Opeth influences are evident in the contrasts between death metal parts and acoustic clean vocal parts but they are fairly good at that?spoken lyrics definitely create a cinematic atmosphere and the acoustic/piano part following that part continues that opeth influences in a greater scale but this time?it actually feels good?drum fills are definitely the defining part of this section and the guitar solo is praise-worthy and surprisingly similar to some melodies of my favorite post-rock band mogwai until it reaches its climax where it goes full evil?loving the instrumental part. Final proggy wankery with eastern vocals are interesting enough and the drummer does his job quite good. A lot interesting then its predecessor. 7/10

Kind Of A Blur: Happy piano melodies that remind me of John Lennon's Imagine?wonder where this song will go to?and SYNTHS AND VIOLINS great transition?it's funny that a classic prog fan just finds these little prog moments more memorable than metal moments in a prog metal moments. This album is definitely greatly cinematic and this song is definitely a proof of that?Evil saxophones are back again! Great drumming again and this song's getting more and more interesting?It's a bit sad that i'm enjoying these short proggy fillers than allegedly epic prog metal pieces in the album?hope it won't continue like that. 9/10

The Rock N Roll Preacher: This one gets a +1 just with the name?hope the song itself can exceed my expectations. Started with good noisy guitar melodies and a metal riff..Yes! Loving this riff?more interesting than the first two long songs? Vocals remind me of Led Zeppelin and this..of course?my friends?is always a good sign. Brutal vocals are again bit boring and out of place?but clean vocals and "dat riff" are sufficent to make this one a fairly good one. Ah yes?acoustic guitar transitions?these sections are marvellous in this record and this one is great as well?really reminds me of Opeth's Damnation?female background vocals are also pretty cinematic and again effective?The atmospheric part?although good again?gets pretty boring after a while?but it pays off with the continuing brass melodies and accompanying guitar solo?so happy and fun?pretty good song! This record sets a great mix 8/10

Six String To Cover Fear: Starts with a very good and melodic guitar riff played side by side with brutal vocals and strings?nothing creative or interesting going on in the first couple of minutes?seems like a straightforward metal song?but use of strings is still great?feels like ne obliviscaris?song starting to get interesting?although we see some other acoustic sections?slide guitar solos and things like that?this song feels like a really straightforward prog metal with nothing to offer and definitely the weakest of the album so far?guitar solo is pretty good though 6/10

Awake: The epic. Clocks at 15 minutes. Starts with a fairly cliche prog metal riff but the sudden transition to a chilling piano melody points towards a more unpredicted piece?entrance of female vocals are amazing and piano/guitar/drum trio with the vocal melodies are just evil?great?surprisingly brutal vocals don't feel forced and the metal guitars following them is pretty good too?Can't. Resist. Headbanging? The guitar work is stellar. Strings are again used effectively.. Seriously?the amount of work put on the instrumentation in this record is worth a praise?strings are hair-raising and definitely one of the top moments of the album?flute transition is also amazing?feels pretty eastern with the rhythmic instruments helping out?jazzy guitar melody enters?soon transforms into a more ravishing guitar solo and then vocals just drift you away while a pink floydian female vocal solo section just kills you in the spot?marvellous and enchanting?climax of the record. Reprise of the string melody transforms to a full-on guitar explosion (feels quite opeth-y again) "Wake up!From! This! Dream!" growls the vocals and the background is filled with voices?and song rushes towards its ending with the same riff?.slowly fading out. Best Song Of The Record. 9/10

X: Album Closer? Opens with a piano melody?These guys are good with piano openers for sure?Acoustic guitar/jazzy female vocals that feels like they are playing a lounge cd?similarities with Opeth's Damnation continues?pretty straightforward?but not bad?good guitar solo again. 6/10

Definitely not a bad record?one of the good avant-garde metal albums that i've heard. Not an expert of course but could have done without brutal vocals but songs like Awake and Rock N Roll Preacher and litte filler songs with great instrumentation are definitely a huge plus.

7.5/10

The Great Tease

This is the first I have heard of Subterranean Masquerade, but it certainly won't be the last.

From what I've heard, this band seems to be a bit of an enigma ? the Wintersun of the heavy prog world, so to say. The band's sole full-length album, Suspended Animation Dreams was released to great acclaim back in 2005, and the band has more or less been silent since. Gaining a cult following from that album, and their 2004 EP Temporary Psychotic State, Subterranean Masquerade went into long term hiding, until last year, when they bubbled up again, with the single Home, released on limited 7" vinyl.

Home was constantly appearing on my radar, from being at the top of my RYM automatic recommendations, to trusted critics talking about it and friends telling me I should hear it. But I generally ignore singles, and assumed, in my naiveté, that Home would be followed by a full- length record (this was before I knew of Subterranean Masquerade's reputation). And I was sort of right, since this is now the EP version of Home, released digitally, with the b-side "Beyond The Pale" (a cover of gothic rock band The Mission), and a lengthy bonus track, the nearly 10- minute "That Night". With this EP now reaching past 20 minutes, it was back on my radar as a worthwhile release, and damn? this is really something.

On this release, Subterranean Masquerade are playing a style of progressive rock/metal that sounds somewhere between Orphaned Land, Opeth and Porcupine Tree. We have the introspective atmospheres of Wilson & Co, particularly evident on "Beyond The Pale", we have the deep growls and big riffs of Blackwater Park-era Opeth, which find their way into parts of the title track, as well as a significant majority of the final bonus track, and then we have the Arabic flavour of Orphaned Land, made even more notable now that Orphaned Land's drummer Mathan Smuhely has joined the band for this current lineup (along with Novembers Doom bassist Mike Feldman). The songs here are decorated by little flourishes of Arabic strings, both bowed and picked, and even the guitar riffing has the sort of of oriental flourish that Orphaned Land's guitars do.

The instrumentals here, for the most part, are outstanding. The first two tracks here were mixed by metal maestro Dan Swanö, who has produced many of my favourite records, and the production here is certainly excellent as well. The title track is lead by a quick riff, done with a flurry of guitar and Arabic violins (apologies for not knowing the correct name for these instruments). Although this riff, along with several here, sound straight of a record like ORwarriOR, Subterranean Masquerade keep their distance from Orphaned Land, done by using some Porcupine Tree-esque ambience and vocal parts in the verse. "Beyond The Pale", being a gothic rock cover, is a far softer affair, although even then, some metal and some Arabic stuff floats in, showing that Subterranean Masquerade aren't simply covering it, they're making it their own track, sounding perfectly fine right next to "Home". I do not know of the original track, released on The Mission's 1988 album Children, but judging from the high single rating it has gathered here, it seems to be a highly considered track in its original form as well. My favourite part here is certainly the Arabic section in the bridge, when the instrumentals get into a great groove, the sort of jam that could go on for minutes and never get boring, which is why I get kinda annoyed that it's cut off a bit fast at the end.

But honestly my only real complaint about this release, and it certainly gets in the way of my enjoyment, are the vocals. Both the deep growls and the low, baritone cleans are a bit irritating and weak in my books, and the only time they really work is during the gothic rock of the verses of "Beyond The Pale", but even then I'm still not too keen. The growls are a bit messy and vague, reminding me a lot of Mikko Kotamäki, especially his work with Barren Earth, in that they are rather infuriating and don't really mesh well with the style of music. The only time they really work here is during the final track, "That Night", in which they are the dominant vocal style for its 9-minute runtime. "That Night" was a song originally written and recorded for Suspended Animation Dreams nearly 10 years ago, but the band never released it until now, and if this is a bonus track, then I really have to get my hands on that album. The song is an incredibly Opethian track, relying on riffs more than anything else, and Subterranean Masquerade really show their hand in playing these; some of them are absolutely brilliant. I love the mood that the track holds for the first few minutes, how despite the death vocals, it feels sort of uplifting in a weird sense, like a happier and more upbeat track, yet simultaneously, it's melodic death metal.

Honestly, if Subterranean Masquerade plans to release a full-length record anytime soon, the Home has certainly done its job of pulling the hype back their way. With Orphaned Land releasing a lacklustre album last year, and Myrath's new one being nowhere to be found, it seems the world is in need of a new face of progressive oriental metal, and oddly, one that comes from New York. Subterranean Masquerade, you have our attention. Don't lose it.

7.8

Originally written for my Facebook page/blog: www.facebook.com/neoprogisbestprog