TECH/EXTREME PROG METAL

Stylistically Memfis continue to play a progressive post-hardcore/metalcore style, with both nods toward artists like Burst, Mastodon, Gojira, and Metallica, as well nods toward 70s progressive rock. They operate in a musical area which isn´t just described with a single genre tag. So, "Imperium" is for the musically adventurous listener. Those who enjoy their music dynamic and featuring both heavy aggressive parts and mellow/atmospheric progressive rock parts presented within reasonably assessible song structures. Memfis have been building towards this sound throughout their discography and "Imperium" is the culmination of that development.

"Imperium" features a well sounding, powerful, and detailed production, which suits the material well. The band are well playing too and the vocal part of the sound is pretty varied, ranging from aggressive hardcore screaming, to semi-death metal growling, to clean vocals (all male). Memfis have included a session saxophone player to a couple of tracks, which is quite effectful and adds even more variation to their already eclectic sound (which in addition to vocals, guitar, bass, and drums also features synths, piano, and mellotron). "Imperium" is upon conclusion a high quality release from Memfis and a 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

All twelve pieces on here are guitar-centered prog metal compositions, all of which really technical and subtle, full of fascinating micro-movements, complex time signatures and incredibly dynamic shifts, which has also been the reason for comparisons to the style of Periphery themselves, but also Meshuggah and Dream Theater, although Tosin Abasi certainly displays a characteristic style of his own that would be developed brilliantly on later releases. Synth and drum programming has been covered by Misha Mansoor, also responsible for various additional effects embellishing the compositions, while all bass parts are played by Abasi. The programming can provide for a somewhat artificial feel quite seldom, which is a drawback of this record, but all the mesmerizing guitar crescendos and masterful playing naturally steal the show and provide for a very well-composed album that touches upon fusion, metal, classic rock and funk. Some of the passages on here can be really melodic and inviting, like in 'Soraya', 'On Impulse', 'Modern Meat', while others can get muscular and heavy, as seen on great numbers like 'Thoroughly At Home', 'CAFO' and 'Song of Solomon', with Abasi even referencing 80s Crimson in the opening notes of 'Behaving Badly'. Just a very gritty, focused and well-produced work, almost all of the pieces on here have become quite significant for the band and offer a graceful rendition of prog metal, albeit in the instrumental domain.

Stylistically the material on the 5 tracks, 18:08 minutes long EP is a type of progressve post-hardcore/metalcore with the occasional more heavy and brutal sludge/death metal oriented moment put in. The aggessive hardcore shouted vocals of the preceding albums have become a bit more melodic yet still raw shouting, and as described above with the occasional excursion into rawer and more brutal territories (although they are few and far between). The music is atmospheric and beautiful but also raw and hard hitting when that is called for.

The EP features a well sounding production job, and since both the musicianship and the songwriting are also on high levels "Silva" is a good quality release and a worthwhile release if you enjoyed the two previous releases by Memfis. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

Just as the case was on "The Wind-Up", Memfis play a pretty eclectic type of hardcore/metal on "Vertigo". Post-hardcore, metalcore, technical death/sludge (not completely unlike listening to early Mastodon), and progressive metal songwriting coplexity are some of the ingredients of the band´s sound. Contemporary Swedish act Burst is the most valid reference to my ears, but Memfis as described take influences from a lot of different sources. The vocals are predominantly aggressive hardcore shouting/screaming, but the album also features clean vocal sections. The musicianship is on a high level on all posts and it´s audible that Memfis is a well playing and skilled unit.

The diversity of the output and the intriguing songwriting, which make the music a bit difficult to properly describe, are great assets of "Vertigo" and keep the listener on his/her toes for the duration of the album. The unpredictability within otherwise relatively regular length songs is not the least bit confusing though, as Memfis seamlessly weave all the elements together into a cohesive musical style. Featuring a professional, powerful, and detailed sound production that part of the album is also an asset. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

When that is said White Stones fully deserves to be mentioned as an interesting and worthwhile progressive death metal act regardless of Méndez involvement with the project. White Stones of course can´t escape some comparisons to Opeth, but although both Opeth and White Stones are at their core progressive death metal artists and some of Méndez playing style and Opeth involvement shine through here and there while listening to "Memoria Viva" (and on the two preceding album releases from White Stones), White Stones actually sound very little like the more well known and prolific Swedish act (despite Opeth keyboard player Joakim Svalberg also guesting, making the Opeth connection even stronger).

One of the core elements of White Stones' sound are the heavy organic grooves of the music. There´s an earthy, at times psychedelic, and quite creative touch to the band´s songwriting, and although heavy death metal riffs and growling/harsh Spanish lyric vocals are part of said sound, "Memoria Viva" is actually more an atmospheric and experimental progressive metal album than a death metal/black metal ditto. 70s hard rock and progressive rock, and 60s psychedelic heavy rock are all music styles which have influenced the sound of "Memoria Viva". Paired with the extreme metal elements it makes for an interesting and relatively unique listen. Maybe Enslaved at their most space rock/progressive metal mood could be mentioned as a reference. The tracks will take you through different musical landscapes and dynamics and although they are reasonably accessible, they do take a few listens to sink in. A good example of the diversity of the album is a track like the 6:58 minutes long "Humanoides". But even before we reach the halfway point of the album "D-Generación" has introduced a melodic aspect of the band´s sound and "Zamba de Orun" showcase flute playing (courtesy of session musician José Ignacio Lagos) and both classical music influences as well as an obvious nod towards Jethro Tull.

"Memoria Viva" features a powerful, organic, and detailed sound production, which suits the material perfectly. This is a high quality release through and through. The songwriting is intriguing and varied, the musicianship is on a high level, and topped off with a well sounding production job like this one, "Memoria Viva" continues the streak of high quality musicial output and fans of adventurous progressive metal with growling/snarling vocals should take note of this album. A 4 star (80%) rating is deserved.

(Originally posted on Metal Music Archives).

Here we have a band who are approaching the music head on from a metal viewpoint, looking to the likes of ICS Vortex for inspiration, yet more death than black, then moving in a different direction which is progressive but far removed from the likes of Threshold or Dream Theater. I found while playing this I kept turning up the volume as this is music which demands to be played loud, even if Aldará is performing in a theatrical fashion which makes one think of Savatage, but heavier and with no keyboards. It is a lengthy album, with the two longest tracks bookending the others and a total playing time of 68 minutes, but it feels much shorter than that as the listener quickly becomes invested and interested in understanding what the band are doing and where the music takes them.

The current line-up came together in 2019, with 'Access All Worlds' being released only two years later, and now they are back with their second. This is a band to keep an eye on, as if they keep on this trajectory, they could well become a major name.

Considering that the material was originally released as a demo, "Slick Leg" is a surprisingly high quality release featuring a raw yet detailed and powerful sounding production job. Compared to Saner´s vocals on the "9 Song Demo", Hinds' and Sanders' are more shouting and hardcore influenced, but there is still a semi-growling quality to them, which at times provide Mastodon´s music which a death metal edge.

The band are well playing delivering a technical, busy, and adventurous musical output, featuring influences from sludge, hardcore, thrash, and as mentioned above even death metal. A 3 - 3.5 star (65%) rating is warranted.

(Originally posted on Metal Music Archives).

Considering that "9 Song Demo" is a demo recording the sound quality is top notch. This does not sound like a demo at all. Saner is an aggressive hardcore shouting/semi-growling vocalist and the vocal part of the demo is quite effectful and well performed. Mastodon were already this early on a very well playing unit and the instrumental part of the music is very well performed. Although Mastodon still had a way to go before they found their core sound, this is not far from how they would sound on their debut full-length studio album "Remission" (2002). Busy and technical drumming, aggressive raw vocals, unconventional riffs and harmonies, and a good balance between sludgy heaviness and faster-paced semi-thrashy tempos (and even a death metal hint here and there), combined with adventurous and often progressive songwriting ideas.

The tracks are quite challenging and entertaining but a few more hooks and memorable moments wouldn´t have hurt. It´s on power, intensity, and performances where Mastodon shine on this demo rather than in the songwriting department. When all is said an done, "9 Song Demo" is still quite the impressive first demo recording by Mastodon and a 3 - 3.5 star (65%) rating is warranted.

(Originally posted on Metal Music Archives).

"Timewave Zero" sees all four members of Blood Incantation switching to synthesizers and produce an ambient, atmospheric, and minimalistic sound, which isn´t far removed from some of the most well known 70s releases from Tangerine Dream. There is minimal use of guitars (they are for example heard during the third movement of the "Ea" track) and percussion during the playing time, and zero death metal or in fact any type of heavy metal related elements. The regular version of the EP features two 21 and 19 minutes long tracks, while some editions also feature the 27:37 minutes long "Chronophagia" bonus track. The digital version of the EP splits the two longer tracks from the regular version of the EP into eight sub-division tracks.

Considering the fact that Blood Incantation are usually a very creative band, it´s no surprise that they felt the need to release an ambient music release too, but while "Timewave Zero" is a pleasant and atmospheric ambient release, which transports my mind to the loneliness and coldness of space, it´s still overall a slightly tedious and uneventful listen. Everything is build on slow and sustained synth chords/notes with only little development throughout the tracks and honestly this is best listened to as background music or maybe for meditation purposes. It´s not a bad quality product, I just expect a bit more from a band like Blood Incantation. A 2.5 star (50%) rating is warranted.

(Originally posted on Metal Music Archives).