CHARCOAL GRACE

"The World Breathes with Me" worked, contrasting intro; a deluge of djent guitars opens the piece, louder and faster than a melting DREAM THEATER; an air to free oneself from the pandemic, from its annoyances; raw power on modern prog metal, the one where you don't get bored, emotion with Jim's Hakenian voice and Sam's solo-rhythmic riffs; a bit of LINKIN PARK, KARNIVOOL for an orgasmic musical flight, going from a light flow to a riot of limpid and incandescent sounds. "Golem" and its deluge of riffs to signify the pain, the torment of the pandemic; a machine-gun riff, heavy vocals, everything to show the simmering alienation; closer to a PERIPHERY shooting everything that moves.

"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)

I never really was too big on Caligula's Horse. I found their albums quite alright, but never too special for me to want to revisit them. They are kinda within the same threshold as bands like Leprous and Haken, being these newer prog metal groups revitalizing the genre in new ways, however even though I do enjoy some of their songs I never really thought they brought something new and fresh to the table, or something that really wowed me personally. However, with the turn of the decade in 2020, they would release Rise Radiant, an album that brought their usual sound and mixed djent with it. I thought, though, that album to be still alright, but I could certainly note the group moving to the right direction. Four years later after that turning point, they would release Charcoal Grace in January 26th of this year, and not only do they improve in a major way with their new found love for djent, but also infused some stellar greatness with the seams of this album to make it my personal favorite of their releases.

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

Galloping gallantly over the vast plains of the metal universe, Australia's CALIGULA'S HORSE has nurtured the qualities of a fine thoroughbred in the prog world where the murky bardo area of progressive metal and progressive rock merge into brackish waters. These Aussies have been in the top tiers of the prog metal world for well over a decade now releasing a series of critically acclaimed albums with radiant rise to the upper echelons of prog metal royalty with the combo effect of 2015's "Bloom" in tandem with 2017's "In Contact." The band evoked a larger than life prog metal congeries of tricks and trinkets that has allowed the band to stand out amongst the legions of progger metalheads vying for a piece of the action but these crafty chaps from Brisbane have always been a step or two ahead of the competition.

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.

The Australians of Caligula's Horse arrive at their 6th album surprising, first and foremost, with their lineup; after all, although changes are not new when it comes to the group, this time, following the departure of guitarist Adrian Goleby, they decided to continue as a quartet. The band now consists of Jim Grey on vocals, Sam Vallen on guitar, Dale Prinsse on bass, and Josh Griffin on drums, thus foregoing the rhythm guitar that was present on all the other five albums of the band.

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.

Australia's finest prog metal band surely has to be Caligula's Horse, having released their sixth studio album 'Charcoal Grace' via Inside Out Music in January of 2024, continuing their line of work of incorporating the aesthetics of djent into their signature style of melancholic yet powerful blend of heavy progressive music. Sam Vallen, Jim Grey and co. have this time organized their album around longer pieces, bookmarked by two longer epic tracks, while spreading the 25-minute-long title track over four parts in the middle of the album. While the band has done longer pieces throughout their discography, they have never before presented their work in such a way, which is an interesting decision, also making this album their longest running one to date, surpassing 2017's 'In Contact' by some seconds.

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.

Brisbane-based prog metallers Caligula's Horse are back with their sixth album, their first as a quartet as they have dispensed with a second guitarist, which means much more work for Sam Vallen, who alongside singer Jim Grey has been steering the band since its formation in 2011. They are again joined by Dale Prinsse (bass) and Josh Griffin (drums) as they move through a form of prog metal which has been heavily influenced by djent. Grey is a wonderful singer, obviously really happy to be at the front of a metal maelstrom, but for me the issue here is the amount of production and lack of real dynamics which creates an album which is technically brilliant yet failing emotionally.

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.