END OF SILENCE

Although I groaned initially due to what is by this point progressive metal cliché, I cannot deny that this is a fantastic album in that context, and those who love the genre, particularly Dream Theater, should not pass by this one. Roland Stoll's voice is almost a clone of that of James LaBrie, and quite a bit of this band's style on End of Silence is very similar to the genre's most popular quintet. Expect heavy guitars, powerful vocals, a solid rhythm section, synthesizer leads with apparently one setting, and the occasional soft song. However, with that said, this band does a phenomenal job using dynamic compositions and melodies to their advantage.

"Clockwork" Following a glitzy synthesizer-lead opening (similar to "New Millennium" by Dream Theater), the strained tenor of the vocalist and heavy guitars moves in at a medium pace. The song has everything one would expect from a progressive metal album opener minus speedy theatrics. Instead, the song focuses on the rhythm and the big vocals.

"Short-Time News" Soft piano and cutting lead guitar would lead one to believe a power ballad is in store, but this is not so- pretty soon guttural guitar rips through alongside synthesizer, and the music is right back in heavy metal territory.

"The End of Light" The epic of the album involves a quasi-orchestral beginning, and could easily be the music for the opening credits of a Tim Burton film. After three minutes of robust symphonic music, the band kicks in with methodical metal. The bright melody over piano about six minutes in is quite uplifting, and the subsequent guitar solo is a real highlight. Delicate guitar brings in a gentler, yet still ominous passage, which gives way to more biting guitar, heavy drumming, and a synthesizer solo. This is a big song, one that can really feel as though it is starting to lose focus around seventy-five percent of the way through. Toward the end, it allows the piano to take over the repeated melody, and this is an excellent move.

"All I Need" In keeping with the gentle piano that ended the previous expedition, Dreamscape offers a short, soft song- a well-placed respite from driving metal and lengthy instrumental sections. The song uses simple chords and a straightforward but agreeable melody.

"Silent Maze" Deep bass introduces this one. It is standard progressive metal fare, this time complete with a shredding guitar solo. I enjoy the interaction between the shimmering guitar and the keyboards hovering in the backdrop.

"Flow" Here is a driving progressive metal cut with thick wall of guitar and breathier sections laced with synthesizer lead. The vocals are a bit grating in places, but overall, this is an excellent offering on this album.

"More Than" While the bass carries a basic tone, the backing is riddled with odd effects. Multiple guitars cut through though, and soon a somber vocal creeps in over a gentle background. Once again, the band demonstrates their ability to use dynamics to craft excellent and varied songs- despite powerful heavy metal passages, the band dams these up with some of the calmest music to be found on this affair.

"Infected Ground" Using a simple chord progression and filling out the sound with the staples of the progressive metal genre, Dreamscape offers a very good work, if only challenging in places. For the guitar solos, the band opens up the rhythm (rather than cluttering it with chugging guitars), and this proves most effective.

"You Don't Know Me" For the final song, the band offers even more variety, this time using a cavorting yet off-kilter romp between the keyboards and the guitar. The melody is wonderful.