Any Colour You Like Now this is what I'm talking about. It's been a good while since I've heard an up-and-coming band with so much potential. Sure, Pet Slimmers of the Year's debut was a little less than amazing, but ...And The Sky Fell is pretty damned good, if I do say so.

The production is much better, smoother and more professional, without being over-polished. The melodies and riffs seem more inspired, while the percussion hovers around the periphery, as with their earlier release, threatening to derail the compositions into expansive spacey trips. The music feels a little more relaxed when the band kicks back, and more intense and suffocating when they decide to engage the distortion pedal. Having said this, there's more to Pet Slimmers of the Year than just the loud/soft dynamic. Indeed, they aren't afraid to lace compositions with melodic clean sections layered with delay and other effects. The expansive nature of the music is refreshing and immediately absorbing. It's not subversive and quirky, but rather restrained and diligent. While I would go so far as to describe this release as minimalist, don't for a second think that it's boring. This is the kind of music you can lose yourself in, and while post-metal isn't going to be everyone's favourite drop, it's just one of those things you can enjoy in the right context.

So, well done Pet Slimmers of the Year, I'm impressed with what you have done so far; but the true test is where you'll go from here. If this latest release is anything to go by, the band appear to have a good future ahead of them.

Any Colour You Like While not as coherent and consistent as their 2010 release '...And The Sky Fell', this debut self titled EP shows and immense amount of promise from this young British instrumental post-metal band. They definitely have their own style, which is refreshing to hear, given that too many bands (usually unwillingly or out of respect) tend to copy the styles of the fore-running artists. Pet Slimmers of the Year focus on expansive compositions, traversing the whole gamut of soft, mellow post rock and melodious distortion. They err upon math-rock in sections, seemingly floating above the temptation to deform into a fluid free-composition jam time. Indeed, as is common with this style of music, it's intentionally uplifting and dynamic, while sometimes crushing and discordant. Because the band prefer to let the music breathe a little, there's plenty of time to soak in the sound-scapes and pick upon the subtleties in the composition. Unfortunately, the production is a little too murky - even with the distorted and grimy aspects of the music, it still feels somewhat underdone. It's not a bad production by some underground metal standards, but there is some room for improvement (which they do make upon the follow-up release).

While this EP didn't exactly overpower my senses, there is no doubt that Pet Slimmers of the Year have immense promise; they also possess the best band name I've come across in quite some time. Seriously, I never thought putting my pet on a diet would sound so good.

Any Colour You Like Sailors With Wax Wings is a supergroup. Not that you would really notice if you didn't carefully pay attention to the array of musicians who collaborated on this 2010 release. Taking influences from a wide spectrum of sonic goodness, the result, much like R. Loren's previous efforts with Pyramids and White Moth, is a schizophrenic mix of drone, ambient, metal, indie, electronic and noise. That sure sounds like a fun combo, and it certainly comes across in the warm, enveloping world of Sailors With Wax Wings.

It's not often you can say that an album takes the sickly-sweet drawn out melodies of latter-period Earth, with tremolo picked guitars, deep male/female vocal melodies and psychedelic pop edges. I'm sure this is what and acid-soaked tribute album to Jesu would sound like. Sure, it's not exactly dynamic, but the lushness of the sound is mesmerising without being completely insane; or ostracising like harsh noise artists or those with a penchant for dissonance and atonality.

My only gripe with this release is it tends to drift aimlessly. For an album that feels like a stream-of-conciousness filtered through various mind altering substances, this is to be somewhat expected. And it's largely enjoyable for the first few tracks. However, I can't help but feel that there's so much more potential for exploration and expansion. Although there's no doubt in my mind that this album will please a select few; the artistic edges of this release will be sure to attract cries of pretension and bloated self-worth. Nay, there's plenty of evidence that Sailors With Wax Wings deserves more than to be pigeon-holed and derided.

Any Colour You Like Tonight, tonight / Soothe your mind.

Now, I fully understand that this isn't really a an exciting experimental album. It's not, and I won't pretend it is. But it is the most beautiful album I've heard in a while, that's really all you need to know.

Well, not quite. Ghost obviously means a lot to Devin, because you can hear every emotion, every thought pattern, every memory, every human pulse and it's all genuine. That's really the essence of this album, yes it's laid back, yes it has poppy hooks and ambient passages and all that, but this is music from the heart. I challenge anybody who knows Devin's discography to present an album which is as emotionally dynamic as this. I can think of all but one, Terria, and there's a good reason why that's also a masterpiece. As I have eluded to already, Ghost is the last album in the Devin Townsend Project's quadrant. It takes the lucid tones and ethereal vibes from Ki, mixes them with the pop hooks of Addicted and then plays off against the chaotic nature of Deconstruction. It is generously paced as if one was recovering from the previous three semesters of adventure.

Sure, there aren't any mind blowing solos, or time signature mashing; but the crispness of the production and the glassy instrumentation is simply not of this world. Perhaps that's a reason why it's called Ghost, or perhaps sometimes the most beautiful things are those which you can't explain or 'perform', but feel. You don't hear Devin (and the band) playing here, you feel them. It is that connection which every artist strives for, therefore it would be pointless to let cumbersome definitions and categories get in the way of emotion. True, a progressive masterpiece this is not, it's a musical masterpiece instead. At the risk of sounding too much like a new-age sensitive chap, it's not all brilliant. Some of the ambient sections are overlong and aimless, but given the general atmosphere, it's quite easy to let the extraneous sounds just wash over you. A fitting way to end the project indeed.

Any Colour You Like I killed a man because he killed my goat / I put my hands around his throat

Really? It's good to see Mastodon have a sense of humour and don't take themselves too seriously. Otherwise I'd be laughing at how bad some of these lyrics are. Sure, Mastodon's fifth studio album 'The Hunter' isn't about anything in particular, but bad lyrics aren't necessary in any domain. Apart from the decidedly mediocre stoner rock middling of 'Curl of the Burl', thankfully, the rest of the album is markedly improved.

The longest lasting image of this album, surely is the emphasis on shorter song writing, laced with psychedelic edges and bizarre imagery. I would argue that this album has a tenuous thematic link to space rock, not only in imagery but in sound. Sure, not all of the tracks here follow the same formula, but there is an overarching sound, undeniably Mastodon, but also an amalgam of influences which were formerly hidden, or less obviously used. There's a tangible Pink Floyd aura on some of the compositions, as well as other classic rock icons. The result is that Mastodon's heavier and chaotic edge is softened by phasers, delay, tremolo and other such effects. Combined with an emphasis on vocal depth, many of the compositions are layered extremely deep within the dense production. Mastodon's break-neck riffing and mercurial percussion remains, but's it's not called upon to be at the fore all the time. In this sense, 'The Hunter' is the culmination of Mastodon's previous four albums. The lack of a specific theme perhaps signifying the band's intention to experiment even further within their own history, and a slight reluctance to fall into a comfortable sentimentality.

The reliance on poppy hooks isn't as sickly as one may think. It obviously makes 'The Hunter' somewhat more accessible to casual listeners; but that doesn't stop Mastodon from mixing tracks up, just to make sure you never really settle into a one-paced groove. As mentioned, some of the lyrics are little bland, but that can be largely forgiven if you take a step back and consider the album entire. Thirteen tracks, thirteen different moods, thirteen different examples of why Mastodon is one of the pre-eminent modern compositional artists. Sure, they've crafted better individual pieces, and more cohesive 'concept' driven albums. But 'The Hunter' may be their most daring statement of intent. There's enough here to please most; a touch patchy, but there's always gold to be found in every Mastodon release.

Any Colour You Like There's always something I look for in an instrumental artist, and that is whether they can keep your interest throughout the length of the album. Many are capable of doing it, some aren't, but even fewer are capable of exceeding your expectations. Russian Circles' début album, Enter is firmly placed in the latter category.

While one could lump 'Enter' with a whole range of contemporaries from Isis to Pelican, Don Caballero and Battles. It's best just to let the music speak for itself. 'Enter' mixes the textural density and voluminous aspects of post-metal, with the tricky and deceptive elements of math rock. The combination is often stunning. 'Carpe' is often underscored by pin-point accurate drumming, oscillating around looped guitars and thundering bass lines. Liberal amounts of distortion and layering will often have you grasping for air at their intensity; this is especially impressive when you consider this is only a three-piece band. Likewise, 'Death Rides a Horse' showcases that the band not only has the ability to mash complex compositions with more powerful and emotional passages. There's little chance of boredom, if you pay attention. 'Enter' rewards those who dig a little beneath the surface. Playing off a Pelican-like chromatic vibe, Russian Circles are not afraid to open up the compositions with extended pieces of ambient that threaten to fall into expansive movements of free-form psychedelia. The more technical math rock elements aren't particularly brash, as one might expect from an artist like Don Caballero, but are often understated; elegant in simplicity. Contrasting the lighter aspects of the music to the heavier, sometimes crushing distortion, while not a new concept, is forever underscored by the album's ability to explode and morph at any moment.

There's plenty here to give a determined listener a foothold into the expansive music of Russian Circles. I was not completely blown away by this record. It's altogether somewhat mechanical. There's no doubt that Russian Circles have talent, and at times their music is exceptional, but I can feel that they still have more to give. Perhaps I'm being a little harsh, but once you've heard 'Enter', it's not difficult to see that Russian Circles have made the bar pretty high for themselves.

Any Colour You Like What you essentially have here, is a bunch of cinematic instrumental scores, penned and performed by Mastodon. Except, you really don't.

"Death March" is intensely boring. It's supposed to build tension through repetitive slabs of guitar, but not only is the guitar one-dimensional, but the progression is oh-so predictable. The idea isn't bad, it's just so damned uninspiring. The only highlight is that Dailor's percussion makes the run time much easier once he kicks in after a few minutes of drudgery. "Clayton Boys" is more interesting and complete, of that there is no doubt. The psychedelic edges are pleasant, but again, it's a little underwhelming until the final minute or so, when things get taken up a notch or three. Thankfully this latter section improves the feel of the track, but alas, it's all too fleetingly ephemeral to truly make an impact upon the listener. "Indian Theme" carries on in the same cast, albeit with more of a sludgy, grimy and dirty vibe. This is the most obviously Mastodon-like track here, and has enough depth to keep the one's interest throughout, even though it doesn't really go anywhere in particular. "Train Assault" begins in an ominous fashion, but like the rest of this EP, it's strengths are outweighed by a terminal lack of spontaneity and excitement. Sure, it's performed well enough, as one would expect. But it doesn't evoke enough emotion - perhaps it was better with the film, but I haven't seen that either. The final two tracks are mere remixes, and change nothing that warrants further discussion, apart from the addition of a decent guitar section in "Death March" (which makes me think it's probably better than the original).

My problem with this EP is that it's just so damned prosaic and predictable. Slow build up, mid tempo riff, spacey external sounds, louder riff. Rinse, wash, repeat.

Any Colour You Like I don't speak Romanian, so it's hardly likely that I can explain to you what Poartă De Dincolo is all about. So I won't.

Instead, here is a collection of words that form sentences, which somewhat describe this latest EP release form Romanian dark metal overlords, Negura Bunget. Mix one part ambient, a dash of folk, a mix of black metal and a pinch of paganism, and you have Poartă De Dincolo. This 27 minute EP consists of four tracks, each of which combines the aforementioned mix of musical parts. The result is relatively similar to 2006's Om, often considered as the band's creative zenith. The cerebral ambience and spiritual content of Negura Bunget's music invokes images of pagan rituals, forest seances and Transylvanian mountain scenes. While still firmly rooted in earthly black metal, Poartă De Dincolo once again delves into dark ambient territory, with crisp percussion, distant guitar tones and gruff wails. It's not exactly re-inventive, but that's firmly missing the point of Negura Bunget. Like Agalloch, Wolves in the Throne Room and other contemporaries, Negura Bunget is all about creating a spiritual connection to places and temporal planes. Plus, listening to their music gives you, the listener the excuse to prance around in forests, and other cool stuff.

Any Colour You Like Long Distance Calling is another one of those instrumental bands who, for the sake of being instrumental, often get lumped in with the 'post rock/metal' category. Having heard this, their latest album, that feels like a rather clumsy appropriation.

Sure, there's sound-scapes and textured riffs and all that stereotypical stuff. But as the album progresses, the listener will surely realise that this is more straightforward rock, with a metallic crunch. Indeed, where this album is strong, is that it takes the textural dream-scapes of post rock artists, and mixes them with the more dynamic edges of progressive metal. The percussion is exemplary, neither saturating the music with wasted fills and pointless show-off drivel, but remaining understated and purposeful throughout. The occasional time-signature change shows a heightened sense of musical maturity, allowing the compositions to traverse multiple incarnations of the same track over the course of their 6-10 minute run time. There's enough sonic diversity to stave off boredom here, which is lucky, for such instrumental albums can often fall into the trap of repetition.

John Bush (ex-Anthrax) has a guest vocal spot on 'Middleville', and while his vocals are neither exceptional or dull, one feels they are a bit of an afterthought. Having said this, adding vocals to the music seemed rather easy; given that Long Distance Calling tend to craft song-like tracks anyway. While I'll admit that this is a fun release, it doesn't quite have the final punch to really push it into another category. But at least in an area of contemporary music where it's often felt to be more understated and obtuse than extroverted and succinct, Long Distance Calling prove that there's still a place for good old fashioned hard work, distortion pedal engaged, structured rock.

Any Colour You Like Everyone knows there's more to Opeth than just death metal. Everyone knows there's more than meets the eye. Everyone should know where Opeth stands, why they stand where they do, and where they will likely be moving to. Heritage is Opeth's tenth full length release, and by now, you would think they know their game.

And they do. It's painfully obvious throughout Heritage that Opeth have embraced their virtuosity and eclecticism and finally transmuted themselves as a modern remake of Camel-Tull-Purple-Crimson. Not that this should ever have surprised more than the casual observer, for Opeth have worn this musical direction on their sleeves since, well, forever. Heritage consists of fusion inspired tunes, lush instrumentation and more than a sinister dose of Crimson-like ambient experimentation. The organic melodies that make Opeth so damned catchy are still there, as are the darkened lyrics and sweeping guitar movements. But's it's all done without the high-end metal. This will obviously please many who found Opeth's heavier side hard to palate. Likewise, those who saw the 'metal' as Opeth's most intrinsically valuable aspect, might be slightly underwhelmed. This should not assume that Heritage lacks volume or 'heaviness', for it has an abundance of classic crunch, and dense instrumentation. The fluidity and jazz fusion cadence that always simmered away beneath Opeth's former compositions is fully exposed in parts. Axenrot's drumming in particular surprises here, with a more natural feel and room to express himself, not only does he carry the album, but adds a simple, yet classy style to the whole affair. While I love the concept of Heritage, and the execution is immaculate as always, I still cannot help but feel slightly underwhelmed by aspects of the album. As I have no doubt expressed before in other similar reviews, if I wanted to listen to Heritage, I could always play some Camel, or Jethro Tull, or King Crimson. It's not that hero-worship doesn't have merits (one would have to have no appreciation of history to deny Opeth's skill), but Heritage feels like a façade. A clean and pretty façade, but nonetheless one that only covers over the face of an older building, one with a natural and original charm.

Again, this is a very competent album, and makes an excellent addition to most collections, but one's appraisal always feels tempered by the impression that this is part Opeth, and part unabashed hero worship. It's fun though.

Any Colour You Like This album is somewhat of an enigma. It manages to combine breathtaking beauty and solemnity, and yet manages to miss vital chords when really needed. In short, only Jesu or post-rock/metal followers will probably appreciate this album; such sentiments are not born of snobbery or elitism (heaven forbid), but rather that the forces which shape the subjective aspects of 'beauty' here are wide open to individual contestation. What all that nonsense means, is that Ascension is an intermittent album, a bipolar mash, a dualist work that swings between the dizzy heights of the upbeat 'Sedatives' and the crushing depths of 'Small Wonder'. Broderick's trademark production and dense layering is as dreamlike as ever, and the thick, bordering upon fuzzy drone is still there too. However, due to an unusual mix, things can be hit or miss. For example, the percussion sounds like it was recorded in a garden shed, and the vocals are hidden so far beneath the mix that all extraneous sounds wash over them with silencing waves of distortion. Now, I can see that the vocals were intentionally mixed low, giving them perhaps a forlorn, or weak vibe. This works surprisingly well on some tracks, giving them an almost Nick Drake fragility and atmosphere. However, they are too often lost beneath the monolithic layers of sound, making their comprehension an added difficulty and challenge. Mixing aside, the song writing is very one paced, and suitably depressing. The music is by no means crushing, but it does ooze melancholia, not in the forthright manner that many alternative artists attempt, but in a lyrically subtle and poetic way. While this doesn't save the album entire from the patchy recording, it pays to let the sound wash over you, rather than succumbing to the cynical and nit-picky ultra- clean Pro Tools user inside you.

When Broderick sings with a meek and atonal tone "only in dreams will we take flight" you can honestly feel his expression; it's just too bad Ascension seems to have been sabotaged by a patchy mix, for it contains some of the more tasteful and interesting music Jesu have created.

3.5 stars, could be rounded up to four, given the brilliance of a few movements.

Any Colour You Like One could be forgiven to think that any 'new' post metal/sludge artists would simply be riffing the original masters of the style. That they couldn't possibly bring anything new to a genre that seems to embrace compositional minimalism and obscurity. But *shels are different. I don't mean that in the 'avant' or silly experimentalist sense, but that they craft wonderful melodic, dynamic, heavy and subtle music with a unique atmosphere and personal drive.

As you could expect, *shels deliver a powerful mix of light/dark, light/heavy orchestrations. But what you may not expect is that they also thrive on creating minimalist passages containing an eclectic mix of conventional and non conventional instrumentation. However, unlike what you might also not expect, is that the band doesn't completely eschew melodic hooks, or necessarily delve into brazen and self-indulgent experimentation. One can only enjoy the woodwind accents present throughout the more cacophonous melodic climaxes, hedonism perhaps, but it's glorious hedonism without the noodling. The exotic ambiance of some of the passages also adds an interesting texture, helping build a less prosaic and less predictable flow. Although still largely bound by the soft/loud/soft structure, it would be ill-advised to simply pass off the compositions here as derivative. Indeed, while some of the movements are predictable, and lack the kind of infectious dynamics of a Pelican or The Ocean, it seems to matter little when the music is so apt to transport you elsewhere. Vocally, I don't see any major issues, the hardcore vocals are sparse and resemble more of a gruff Isis tone rather than the hardcore shriek (or whatever it is). The clean vocals are polished, along with the production entire - there's nothing to fault here.

'Sea of the Dying Dhow' has been of recent times, one of my favourite releases. Furthermore, in a genre of Isis clones and GY!BE-like posers, *shels deliver a truly expressive, powerful and memorable listen. I shall await their next release with barely concealed joy.

4.5/5

Any Colour You Like I've been putting off reviewing this album for too long now. Partly because I was still unsure about how I felt about it, but also because it never really struck me with any strong opinions. However, I feel necessary to at least mention what this release means to me. So bare with me here folks, this might not make much sense!

Panned by some for the 'overlong' and 'repetitive dross' that consists of the final two movements, one could be forgiven for thinking this was just pretentious navel gazing masquerading as art. However 'Dowsing' (as I shall refer to it, for brevity's sake) is definitely not an album to hastily rush into, nor one you can critique without attempting to understand it's scope. The first three tracks follow roughly in a similar style from Kayo Dot's debut, that is, neo-classical, dreamy ambient music with a penchant for dissonant slabs of metal and anguished wails. However the final two movements are an altogether different beast. '___On Limpid Form' is relatively 'normal' (heh, that's Kayo Dot normal) for five or six minutes, before we are treated to the sonic equivalent of having a nail hammered into your head. Now call me a hedonist or sadist or whatever, but I love the progression of this 'drone' movement. Yes it's long, but at the end of it, you are drained, purged and tired. Whether that's your cup of tea or not, well I can't answer that for you. Following is 'Amaranth the Peddler', one of the more minimalist Kayo Dot compositions. If the former movement tires you, the latter should be it's antithesis. I especially love the percussion and solitary flourishes in this movement. Few tracks have ever said so much by doing so little. In conclusion, the aura, ambiance and chaotic nature of 'Dowsing' should not scare any hardy Toby Driver veterans. However, it tries hard to eschew the listener thematically and musically. Therefore those who can see past the seemingly inane and desolate nature of the music are apt to be richly rewarded.

This is not to say that 'Dowsing' is flawless, far from it. It's one thing to understand and enjoy the challenge it poses, it's another thing to enjoy it unconditionally. I can't always enjoy this album, but in the right context, it's highly pleasurable. Just don't play it too loudly around people who may not share your sentiments, they may not appreciate it.

Any Colour You Like There comes a time when every artist must forge their own path. Some do so better than others, some struggle, some seem to do it naturally. Italy's Dropshard are one of the newest prog metal artists on the horizon. Their debut album 'Anywhere But Home', released in 2011 shows immense promise and musicality, however it is also a flawed release for several reasons.

I'm not going to go into too many negatives here, for overall, I was more than impressed. However, I cannot help but feel that they wear their inspirations too close to their own chest. Now, I admire those who have an appreciation of the classics, both past and present. But it's another thing follow their lead. You could draw parallels to Dream Theater, Riverside, Porcupine Tree, Genesis here... it's fairly obvious where Dropshard draw their inspiration from. As I mentioned before, this isn't bad as per se, but shows a natural youthful naivety. One cannot be too harsh, after all, many of the compositions here are wonderful.

Now that's off my chest, let's get down to the music itself. Many of the compositions have mighty symphonic overtones, making use of classic 'prog' tones mashed in with modern metallic edges. The vocals and lyrics are wonderfully expressive, complemented by dynamic and challenging instrumental orchestration. Indeed, on more than one occasion the melodies developed are beautiful to the point where impulsive body movements become mandatory. I do feel that the guitar (especially on the solos) was mixed perhaps a bit too high for my liking - there is more going on here than just the guitarist showing off, but it can be a bit overpowering. The keyboards and synths are very good, perhaps the strongest suit in the album. Furthermore, the rhythm section carries the album very nicely without any real dramas.

There is a lot to laud here, make no mistake; but I must espouse that the base sound of Dropshard will need some refining if they are going to forge their own path. Whether intentional or not, their musical creativity should be capable of speaking independently, not simply as a rehashed neo clone.

Any Colour You Like Neurosis are famous for being the instigators of the 'post-metal' movement, but as this album shows, their vision and execution go far beyond your run-of-the-mill style post metal. Indeed, calling this post metal would probably detract from the overall attraction of the album. This is brutal, thought provoking, dark, heavy and mystical music. Make of it what you will. That's it's beauty.

As you may expect, the riffing is heavy and dense, paced in a low to mid tempo (although not drone). The crushing density of the soundscapes however is not simply limited to stereotypically metal, indeed, the most cerebral and emotionally crushing track on the album is thoroughly minimalist, with other movements containing sinister but odd instrumentation like bagpipes. The combination of paint-shredding vocals, martial grooves and dense orchestrations creates a wonderfully ornamental atmosphere. Indeed, paraphrasing a contemporary (I can't remember where I got this from, so apologies in advance), one could do worse than to stare into the eye of the wolf on the album cover while listening to the album. Then you'll get it. While the trademark heaviness is pleasing and powerful, I must admit that on occasion it does seem a bit predictable, but stylistically that's probably the point. Also, while the production is a little messy and murky, in the overall aesthetical design, the slightly chaotic blueprint only further enhances the atmosphere. Don't fret though, it's not underground black metal bad.

Those looking to get into post metal would probably be advised to look elsewhere at first. This is by no means an easy album to admire or grasp. However, if you persist with it, it will reward you immensely. The maelstrom of emotions and imagery present here will not only keep you interested for repeated plays, but will also give you a greater appreciation of the ironic subtleties of this behemoth of a band.

Any Colour You Like In terms of what I was expecting from this 2009 Jesu EP, I pretty much got what I'd banked upon. It goes without saying to any fans of the 'genre', that a Justin Broadrick release will be drenched in drugged out, fuzzy warm tones and gleaming metallic edges. Indeed, 'Opiate Sun' is Jesu, right down to the drone-tempo melodic phrasing.

While there should be nothing here to offend listeners, it does to an extent come across as post-metal/whatever by numbers. It's more dynamic and visceral than your average drone, but it's hardly as pounding, nor 'pushy' as one may come to expect. Nonetheless, Broadrick's compositions are mature and well placed, not to mention characteristically dense. The only track to properly stand out beyond the melodious hum, is the closer 'Morning Light', which is assisted by a more dynamic and versatile approach. Indeed, it only highlights what Opiate Sun could have been - instead of adventurous, what we have here is graceful, mellow, melancholic music, that with a little extra spice could be otherworldly. And we all know Broadrick has it in him to deliver brilliance, so I'll await the next release to hopefully see this actualised. A solid, if a little underwhelming release. Along with this year's latest Earth release, drone looks set to prosper!

Any Colour You Like Having established themselves as one of the more melodic and musical Black Metal artists of recent times, Ukraine's Drudkh present Anti-Urban, a short two track EP, released in 2007. Nothing in this release should come as any shock to Drudkh veterans. The melodic riffing is there, Roman Saenko's vocals are as frosty as ever, and the compositions flow evenly, albeit without too much dynamic divergence. That's my only real issue with this release, it's all fine to set an atmosphere with repetitive 'textural' riffs, but to repeat ad nauseum without any discernible artistic development leaves me feeling cold. Or maybe that was the point? Furthermore, the programmed drums feel too artificial, which is a shame considering Drudkh are usually all about natural textures and spiritually organic music.

Fans of the band will probably enjoy Anti-Urban, but don't hold your breath.

Any Colour You Like There's something very alluring about this release. Sure, as an EP it's never going to completely blow you away in the same sense that a well planned, musically fresh and thematically interesting full length will, but Pelican's Ephemeral EP is surely one of the most impressive releases the band has produced to date.

Traversing 20 minutes of dynamic, dense, melodic and powerful metal, the compositions here are typically Pelican, but they also have that wonderful aura of intrigue and mystery. They aren't psychedelic in the Eloy sense, nor weird in the Kayo Dot sense, but groovy and dense nonetheless. There's simply more depth and texturing to each movement than just chugs of metal and flailing percussion fills. Yes, the Earth cover 'Geometry of Murder' may not be as languid and textural as the original, but what this cover lacks in 'photocopy', it makes up for in a truly dynamic 'expression'. Indeed, this one of Pelican's more expressive releases. As I have said in previous reviews, Pelican should be treated as a triumphant, joyous artist, there's nothing sinister or dark about any of their compositions. Just take one listen of Ephemeral and you'll know what I mean. It's mature, powerful and strangely poised. A near-perfect way to spend 20 minutes.

Now the release isn't without faults, but by and large these are mostly subjective stylistic flaws that I shouldn't need to espouse here. Objectively, there simply isn't anything bad to say.

Any Colour You Like Only the next album will fully reveal if Watershed has been indeed a watershed in the progression of Opeth. I was initially quite surprised by the quality of this album, with its brazen and eclectic fusion of classic retro-sounding prog rock and typical Opeth melodic death metal. The concept of such fusion isn't new, especially not to any fans of Opeth, yet there is a foreboding atmosphere here which defies their discography.

Building on the darker (gothic?) overtones developed in 'Ghost Reveries', Watershed contains a number of sinister sounding mashed up death-folk (or whatever you fell like 'categorising' the music as) tracks, complete with razor sharp riffs, pretty string arrangements and some generous smatterings of mellotron. Indeed, Per Wiberg's influence on this album is unmistakeable, and elevates it to a level beyond what it would have otherwise been. A hat tip is necessary here. The balance struck between Mikael's typically powerful metal compositions and his equally dark progressive movements provides a great disconnect, one which like releases past continues to enthrall upon repeated listens. The tracks that stand out include; 'The Lotus Eater' for its seamless fusion of genres and styles (including some brilliant breakdowns and solos), 'Burden', a brilliant showcase of Opeth's overall skill and especially Wiberg's lightning sharp and emotional keyboard solo. The album closes with 'Hessian Peel' and 'Hex Omega'; some cite that these tracks drag too much, however I disagree. The lucidity and ephemeral nature of these compositions hints at a drastic path Opeth may take in the future. I would not be disappointed if Mikael chose to pursue further work down this path - twisted, dark, somewhat jazzy ambient fusion.

There are a couple of sticking points however. Mikael's usually throaty and deep growls seem to have lost some of their volume and depth. This is saddening but unfortunately a part of the existence of a death metal vocalist, nonetheless, his clean vocals are as dreamlike and serene as ever. I also think that the percussion in parts feels a bit 'stiff', or perhaps 'inorganic'. This isn't some swipe at Axenrot (nor a lament of Lopez's exit), but I feel that in some sections the percussion feel could have been improved. But for the most part, like Watershed in general, it's excellent. All in all, Watershed is another solid, occasionally brilliant Opeth release.

Any Colour You Like Given that the progressive music scene in New Zealand is entirely underground, saying that any new artists have a tough time of breaking through into any kind of exposure is an understatement. This doesn't even come close to the reality for many artists, yet it doesn't put off many hardy souls from trying. And try Look To Windward have. Formed by Ben Morley and Andrew McCully, this Auckland based project present the new face of the Kiwi experimental metal scene. It's refreshing to say the least.

Anyway, without anymore posturing, Look To Windward's debut album 'Fortunes Haze' took me by utter surprise. To fully understand the impact this album had upon me, one must consider that this album was entirely self recorded (at home), produced and released. The quality of the production is as good as many professional cuts, and if anything, it seems uncluttered by the pretensions and over-produced cliches found in the genre. The album begins with 'Danger Eyes', a piece that fuses charging prog metal and symphonic flourishes. The vocals are very well done, placed well within the compositions for maximum emotive effect. Following is the two part titular epic, which evolves from fairly standard prog/death metal into more a more expressive and unclassifiable mash of music. The dynamic range of the band is refreshing, ambient breaks provide Fripp-like soundscapes before more deluges of warped time signature metal. 'Control' is a more restrained acoustic piece, again highlighting a compositional diversity, although I must admit that this isn't my favourite track as I found it a touch sterile. 'Zero Parallax' is an interesting but short dark ambient movement acting much like a split between the halves of the album. 'Behind Red Curtains' follows a similar method to many of the other compositions here, but containing some seriously groovy and heavy rhythmic changes. 'Vad Åskan Sade' is probably the highlight of the album, fusing neo-classical rock elements with prog metal, something not uncommon to the genre. However, the track doesn't feel artificial nor 'cheesy', the result is an emotive journey that echoes both classic artists and hints at a brave new path. The final two tracks are both epics in the sense that they stretch beyond 10 minutes, but also traverse a multitude of soundscapes. 'Deception' takes a while to get going, but there are some wonderful piano driven moments here, sure to make any prog metal fan appreciate the compositional foresight shown. The closing piece 'Forest is Moving', provides a final and excellent summation of the album entire, highlighting subtle (and not so subtle) changes in timbre, dynamics and tone. The forest is indeed moving, but this is one forest where I'd like to stay.

In a more objective analysis, 'Fortunes Haze' does have some flaws - nothing terminal, but nonetheless things to ponder. I'm not entirely convinced about the growled vocals, that while sparse, don't really match the emotive effect of the cleaner vocals. It is also worth noting that this is a long album, perhaps too long. And while this isn't a bad thing, perhaps as Look To Windward progresses along their path, the value of being succinct may become more apparent. At times it feels a little wayward and aimless, which is generally why the album tends to shine during the more dynamic sections. Nonetheless, I must applaud 'Fortunes Haze' for the ambition it shows, the poise and skill it highlights, but also for proving to myself that New Zealand's music scene isn't terminally deceased just yet.

Recommended to fans of DREAM THEATER, RIVERSIDE, OPETH, PoS, motW and PORCUPINE TREE.

Any Colour You Like The Slagg Factory is the latest mini-album release from British instrumental metal maniacs Dr. Slaggleberry. For those unacquainted with the Doctors, the three-peice play a technical and challenging style of progressive metal that fuses several influences into a raw and powerful mix.

The Slagg Factory builds around dense guitar patterns and a heavy percussion section that seems to flow at will between odd time signatures and Meshuggah-like grooves. Indeed, the liquid crisp progression of the instrumental chaos at times has a jazz-like fluidity, before thumps of gritty metal remind the listener to keep their feet on the ground at all times. The dirty, almost primal bellow of the guitar section and the wild percussion flourishes are apt to give the illusion that far more is going on than what appears on first listen. Indeed, the jazzy-metallic fusion creates a unique atmosphere, one which suits the instrumental free-form structure of the compositions. Subtle echoes of Thrak era King Crimson are visible, and while The Slagg Factory largely eschews any direct comparison, the experimental edge of the sound only further highlights the potential for expansion the band shows.

While The Slagg Factory is a well rounded release, there is even more room to experiment here. It's not that the release lacks intensity - far from it. But there is potential for Dr. Slaggleberry to expand even further into the realms of chaos and technicality. This is testament to the strength of the core sound and the style that the Doctors are capable of. Recommended without hesitation to all fans of technical and experimental metal.

Any Colour You Like This fifteen minute long EP is quite simply amazing. As far as Cloudkicker compositions go, this is representative of much of his style, featuring uptempo riffs, solid masses of sludge and post metal goodness, including a focus on increased dynamics. Indeed, most of the tracks here evolve around a core progression, that morphs and builds into behemoth of sorts. The sonic chaos that evolves from benign prozaic riffs is mind-altering in complexity; guitars layered deep, rhythms crashing together, drums furiously pounding away. ]]][[[ is essentially Cloudkicker's most dynamic and daring EP, while the others were somewhat stale (good nonetheless), this release will actually drag you towards its powerful climax. ]]][[[ is a short, perfectly paced mini-epic of sorts with enough to grab any listener's attention. There isn't much else to say here other than - go and download this if you want challenging, chaotic and impressive metal. Oh, and it's free.

Any Colour You Like Crack the Skye has been a much lauded album around the music scene for over a year now, and initially I must admit that I didn't see what all the fuss was about. But having let this release sink in a bit, I can fully understand why this album has received so many accolades. And it deserves every one of them.

I'm going to largely ignore the concept of this album, not because I don't value the importance or artistic merit of it, but simply because it's so convoluted and downright bizarre. Suffice to say, it's about ether and spacey stuff, mixed in with imperial Russian history and personal reflections. That's stoner deep right there. Anyway, it's not hard to see that Crack the Skye is a musically inspired album. The riffs fly at the listener with intensity, the drums swirl around exciting fills and there are dynamic tempo changes a plenty. The vocals are apt to shift between the melodic wails of a warlock and more conventional (if gritty) Mastodon vocals. The increased focus on atmospherics, combined with the aesthetical design of the concept, gives the album a tangible classic prog rock aura. And when assisted with some truly epic melodic breakdowns and soaring guitar solos, it's not hard to see why Crack the Skye has such an infectious energy.

Both epics "The Czar" and "The Last Baron" are two of the most complete compositions of recent prog metal releases, and while not searing with technicality (comparatively speaking), there is more than enough evidence here to show that Mastodon has serious talent. Crack the Skye is no one-trick pony. While the heavy, fast and energetic Mastodon is still there, given more space to breathe and experiment has done wonders for the band's sound, which is now more fleshed out and interestingly paced. This feels like a truly collaborative effort, and I honestly can't think of a weak track, or even a weak section of a track . If you want to experience the best modern progressive music has to offer, look no further than this gritty, powerful, somewhat bizarre and entertaining release.

The bonus DVD also features a nice making of documentary, while highlights much of process behind the release, as well as a cursory insight into the (offbeat) minds of Mastodon. I suggest you find the CD/DVD version for this reason. Both the DVD and CD are well produced too.

Any Colour You Like Meshuggah - Nothing, 2006

Having only heard the original 2002 release of Nothing once, I shall not make any judgement on the merits of the remaster in comparison to the earlier release.

Crushing density, chaotic pulsating rhythms, staccato barks and jazz chromatics collide into the relentless grooves of Nothing. This is what Meshuggah does best. Nothing is a restrained album by the standards of the band, while more groove-orientated than previous releases, Nothing fashions a nihilistic, grinding and robotic atmosphere that chugs on, and on, and on.

Those accustomed to the technicality and heaviness of Meshuggah will understand that the beauty of Nothing does not lie in the 'musicality' of the compositions, but the seemingly endless and pulsating tonality of machine-like instrumentation. Indeed, those looking for typically beautiful music need not apply. Nothing is the sound that you computer makes as the insides become corrupted. Nothing is the sound that you car makes as it tears itself apart. The only difference, is that the sound of Nothing is not chaos, but a carefully orchestrated deconstruction which requires multiple listens to fully comprehend. The mind-altering technicality of Meshuggah is more than a side show, indeed the often subtle patterns that emerge almost seem subconscious, complimenting the mechanical aesthetic of the lyrics and music. Jens Kidman's characteristic bark molds easily into the grind, pushing the listener closer to the lyrical descriptions he expels at great volume. Haake's drumming is typically polished, while the occasional chromatic neo-jazz guitar solo adds a further sinister artificial atmosphere to the album. Lyrically, Nothing is based around existential philosophy, but also exposes the basic faults of humanity leading to the crushing reality that we all face.

While the bludgeoning riffs and liquid patterns are fun at first, but the lack of diversity between tracks dents the overall impact of the album. However, to focus on what Meshuggah doesn't do is to ignore the core concept of the music. The nihilistic overtones and inorganic atmosphere of the album should push the listener away, but not distance them from the hypnotic rhythms and subtleties of Nothing. Indeed, right up until the final moment of "Obsidian", where the album ends mid riff, the conceptual focus of the album is complete and engaging. There is simply nothing more to say. The bonus DVD is also nice, and rounds off what is a very solid release.

Any Colour You Like Pelican's second full length album remains somewhat of an enigma to this listener. While it keeps the sludge that made the first record so dense and heavy, it has added a greater emphasis on developing a prozaic 'post-rock' progression, with all of the dynamic shifts and challenges this entails. In the process, Pelican's epic soundscapes have matured into calmer and generally more evenly paced fare. To some extent this aids in the development of softer passages, but the truly epic riffs and climaxes found on Australasia seem to be missing.

This is not to say that there aren't several great riffs here, but there seems to be something lacking from the compositions. The paradoxically elegant and simple style of Australasia erred on the side of minimalism, in the sense that the progression of each movement did only what it needed in order to extract pleasure from your brain. Some of the compositions here just sound... well a bit noisy and confused compared. Despite these stylistic gripes, Pelican still manage to craft an enjoyable listen. "Sirius" and "March to the Sea" are especially memorable, showing a more matured sense of dynamics and pacing, while the 'untitled' track highlights Pelican's innate ability to craft wonderful acoustic tracks packed full of subtlety and charm. It is a shame that some elements of this album seem to be a bit noisy and confused for their own good. The lack of direction does hamper the listening experience of this album, but as with any Pelican release, there is always gold to be found within the cacophony.

The dual guitar section of Lebec and de Brauw are as powerful ever, while the brotherly rhythm section of Bryan and Larry Herweg have become more polished on this release. Even with some of the negativity surrounding the percussive elements of Pelican, I can still admire the aesthetical fluidity of the band. Such is the nature of this release, it pays not to over-analyse what is before you. The Fire in Our Throats is not a perfect release by any measure, but as typical of Pelican, it contains an innate charm and ability to convey an instrumental story. And while this story can sometimes get lost in translation, one can do worse than to get lost in these soundscapes.

Any Colour You Like Instantly the listener is bombarded with glistening shards of angular noise. The powerful riffs seem to fly off at tangents, gleaming, echoing, then fading. There is a warmth in their sound that defies the coldness of the instrumentation. Pulses surge with lush tones, yet seem restrained by calming vocals. Again the tempo increases, a strange sound emerges then subsides, all is calm once more. Dissonant chaos then erupts from the void, accented by newly frantic and nightmarish vocals. The catharsis peaks, then the noise begins to subside, leaking away into jazzy ambient minimalism. This is Choirs of the Eye, a place where subtlety and chaos collide at will.

Kayo Dot's debut album is a intense expanse of noise, metal, dissonance and ambient experimentation. Forget comparisons because there are none. Even Toby Driver's other projects fail to match the sheer scale and power of this album. Again, as with any Driver project, categorisation is pointless. Call this avant-garde, post-metal or ambient... it's all essentially worthless because Choirs of the Eye defies convention. The angular dissonance and crushing heaviness of the compositions will push the listener into chaos, while the eerie ambience and subtle poetry of the lyrical content will lull the listener into a vivid dream-like state. The embrace of this album is glorious, it feeds you warmth, then crushes it under layers of dense noise, only to throw you a lifeline from beyond. The neo-classical and Jazzy elements that accent the metallic soundscape add an unusual density to the composition, one which can at times be haunting, but also sometimes unusually catchy.

Indeed, there is something for every listener here, from chaotic metallic riffs to cathartic noise, chilled minimalism, sweeping orchestrations and bittersweet poetics. There are even a few melodic hooks to keep the listener from completely eschewing the more dissonant edges. Choirs of the Eye is easily one of my favourite albums of all time, and best compositions of recent years. It is immersive, challenging and downright beautiful. I can only strongly recommend this release to all people willing to give it a listen. Just let your open mind drift, this choir as your guide.

Any Colour You Like I think I have finally found a guitarist who is capable of redefining what music can be. Animals as Leaders is an instrumental project led by American musician Tosin Abasi. Abasi performs all of the instrumentals here - but don't worry, this is one polished and technically astute release. Animals as Leaders is essentially a technical progressive metal album, which is based around the exceptional guitar work of Abasi. Combining lightning-fast technical wizardry, with highly musical orchestration, Animals as Leaders drags the listener into a trance of sorts. The listener is mezmerised by whirling guitars and pounding drums, often in poly-meters or giving the illusion of being so. Stand out tracks include; On Impulse and the epic closer, Song of Solomon. Both of these tracks combine amazing guitar work with the catchy sensibilities of progressive metal.

Abasi's technical ability occasionally merges into the chaotic, and sometimes seems to blur the line between technicality and taste. But these moments are relatively rare, and for the majority of the album Abasi retains a relatively restrained rhythmic and melodic style. There is no doubt that this is a highly inspired and musically powerful release. Meshuggah-like in technicality, Vai-like in musicianship, but retaining the ability to form catchy but relatively complex soundscapes. It is also worth noting that while Abasi is a noted exponent of the 'djent' technique, this album contains much more than repetitive chugging. Instrumentally brilliant, flamboyant and challenging - Animals as Leaders' debut is easily one of the most important releases in progressive music in recent years.

4.5/5, Do yourself a favour, and purchase this album now.

Any Colour You Like It starts with a whisper, a quiet guitar, a simple ambiance. The mood grows and darkens, the tempo increases, the distortion kicks into overdrive and then all hell is unleashed. This is Still Life. Opeth's fourth album release is perhaps the most challenging, eclectic, powerful and well crafted of all their releases, which is no mean feat in itself.

What Still Life does so well, is that it fuses styles so effortlessly. You have your typical melodic death metal, classic progressive rock touches, jazzy fills, ambient breaks and a touch of pop. The combination creates an atmosphere that is both heavy and complex, but isn't especially hard to engage with to or follow the storyline. Forget Damnation or even Blackwater Park, if you want atmosphere, power, catharsis, technicality and feel - this is the complete Opeth album. Mikael's vocals are as powerful as ever, both clean and growled, while Lopez's drumming is excellent as always. Given more room to experiment here, Opeth really show their chops. You can hear classic prog fills, jazzy melodies and a typically polished and melodic Opeth riff factory. One thing that really helps this album is an increased focus on dynamics. On more than one occasion, the clever dynamic shifts are capable of creating epic moments of synthesis - and some truly headbanging riffs.

There is not much more to say here, Still Life is cornerstone album in Opeth's discography, but it is also an extremely important album in the Progressive Metal genre. A modern classic almost par excellence.

Any Colour You Like This is what cosmic rape would sound like as art.

Ok, so maybe that is a little too absurd, but it comes close to describing the 'sound' or more aptly 'noise' that is Pyramids' self titled debut release. At the core of this album is ambient experimental music which takes massive chunks of avant-garde and progressive influences ranging from drone, black metal, noise and post-rock. In fact, it is so dense and challenging, that it is pointless to try and describe this music in conventional terms, so I won't. The layers on this album are majestic, deep, dense and atmospheric. There are no typically 'metal' or 'rock' riffs here, just layer upon layer of noise and ambiance. Throw in the occasional Jesu-style vocal line and some programmed drum beats, and you have an interesting recipe for chaos. That is what this album is, restrained chaos. If I had to name any track from this album as being above and beyond, it would have to be "End Resolve" for what is a truly mind-bending mash of influences and eerie ambient aura. The closing track "1, 2, 3" is also captivating mostly because of the black metal inspired vocals, something which is apt to catch the unwary listener off-guard.

Despite a running time of just over 33 minutes, this album is more than enough to satisfy any listener and their hunger for sonic challenges. The second disc contains a few remixes, and while it is a nice touch, the main attraction should overshadow them. Pyramids are a truly captivating band, and this album is testament to that.

4.5/5

Any Colour You Like With the seemingly explosive power of Opeth, and the more subtle nuances of prog rock, Finland's Ikuinen Kaamos bursts onto the Tech Metal scene with their 2008 EP, Closure.

Upon first listen I almost shouted "OPETH" after a few seconds. The comparison between the two is not hard to hear, and nor is this necessarily a bad thing. The opening track 'Closure' features a flurry of buzzing guitars, often angular and angry, but at times more melodic and soothing. Mixed in with this are small acoustic and ambient breaks that showcase a deeper sense of maturity than your average death metal band. Vocally, you have your standard death/black metal growls, and occasionally some pretty decent clean vocals thrown into the mix. Again, this diversity of sound across the 27 minutes of the EP is refreshing to hear from an extreme metal perspective. The second track, 'Your Gallows' is again, another melodic monster that relies on faster tempo riffing, the occasional blastbeat and typically guttural vocals. 'The Absence' ties the EP off with a 13 minute epic, that showcases all the promise Ikuinen Kaamos has. From lovely melodic guitar work, to furious black metal flurries, Opeth-esqe solos and some clean vocal sections, helps the track to be the most impressive and memorable on the EP.

For the promise that this release shows, it does come across to an extent as prog/death metal by numbers. It is fairly predictable to any serious listener of the genre, and never really develops any unique atmosphere or conceptual purpose. Despite this, Ikuinen Kaamos proves that you can create interesting and powerful music, that blends death metal, black metal and proggy atmospherics. Watch this space.

Any Colour You Like The words Black Metal and beauty are not often found together. They seem to oppose each other, such a concept should be absurd. But this is a fallacy, for Drudkh's Autumn Aurora is possibly one of the most impressive albums in the genre for several reasons. Before you ask "why is a Black Metal band on ProgArchives?" Let me explain what Drudkh should mean to you.

Drudkh is a Ukrainian Black/Folk Metal band who is led by Roman Saenko. They play a dense and atmospheric style of Black Metal, with a focus on Ukrainian poetry and folk themes. Beyond the harmonious buzz of tremolo picked guitars, lies a powerful mix of synthesised sounds, clean acoustics and typically abrasive Black Metal vocals. However, Autumn Aurora is much more than a sum of these parts. The riffing is largely melodic and while it lacks a dynamic edge, the layering of the sound is impressive and frankly, beautiful in parts. The ambient atmosphere of the album is serene, and the contrast between the harshness of the vocals and noise can seem quite overwhelming at times. However, the aesthetic of the album feels essentially complete as all the tracks carry a similar style and theme, while developing a subtle soundscape throughout. The occasional guitar solo is nice, and the instrumental passages are oddly soothing. The highlight of the album for me is the final combination of "Wind of the Night Forest" and "The First Snow", two incredible works of ambient Black Metal, Burzum-esqe in approach, but cinematic and epic in scale and execution. My only major gripe would be a lack of dynamic variation - but again, such is the aesthetic style that this doesn't really impact on your enjoyment of the album.

The true beauty of this album lies in the mood. You (more than likely) won't understand the lyrics. You will wonder about the merits of the 'fuzzy' production style. You won't necessarily understand the scope of Autumn Aurora. But you will feel it. Drudkh is all about feel. The fact that Autumn Aurora is capable of bridging the gap between classical Bathory inspired Black Metal and a Agallochian fusion of folk and metal means that this is one album any metal fan could essentially listen to. There's no excuses to dislike this album if you can grasp the vocals, and imagine the dull rusty colours and cool breeze of a Ukrainian autumn.

Any Colour You Like I have always liked the concept of an EP. They never overstay their welcome, they rarely fall off track, and there is always the chance of finding a gem or two. Opeth's Burden EP is no different.

Containing just 13 minutes of music, one would be excused for thinking this was more of single than a EP, however, it contains enough solid material to interest any Opeth (and Alice in Chains) fan. "Burden" has been cut down into a 3 minute radio edit, and while not as good as the full album version, it is still a lovely song, showcasing Mikael's increasingly polished clean vocals. "Mellotron Heart" is an interesting track that yes, you guessed right - contains a healthy dose of classic 70's inspired mellotron. "Would?" is an impressive cover of the Alice in Chains song, and while I am no AiC expert, it seems as if Opeth have done a pretty decent job here. The EP is sung entirely without growled vocals, so there is no excuse for any prog fan not to pick this up - it is a bargain as well.

And that is about it folks, a short, if well made and interesting EP - perhaps too short even for an EP. Maybe Opeth could have lengthened "Burden" a bit to make it more memorable to the fans who bought this release out of sheer curiosity. Some nice cover art finishes of what is a fun, but not great release.

Any Colour You Like I really do enjoy this little EP, for me, O2 Panic Room represents all that I love about Riverside and the Riverside 'sound'. Consisting of only four tracks, the EP should be a mandatory purchase for any Riverside fan, and even for those who may not have heard this band before.

'O2 Panic Room' begins with an interesting bass line, before an extremely Gilmour-esqe guitar and floaty keyboards carry the song forward. This is a typical Duda composition, featuring philosophical lyrics, melodic vocals and a tangible Floydian aura. 'Lucid Dream IV' is a little heavier, and reminds me of a DT composition. The nice mix of the spacey Riverside sound and interesting technicality ensures that the track doesn't feel too derivative or boring. However, the highlight of the EP for me is the amazing 'Back to the River'. The track begins in a very slow tempo ambient move, before a jam-like section slowly evolves into a Floydian space-out session. Just in case you haven't picked up on the PF connection yet, Riverside breaks into a short cover section of Shine On You Crazy Diamond. Finishing off is a remix of 'O2 Panic Room', which contains some nice vocal harmonies, but never really feels as well composed as the original parent track.

This should be an essential purchase for all Riverside and Floyd fans, acting as a succinct guide to the softer side of prog metal.

Any Colour You Like Having downloaded this album on the advice of another member, I was not sure what to expect, I especially did not expect piano driven post rock with clean and screamed vocals. But hey... The Pax Cecilia have produced a decent album here, full of classical overtones, post metal edges and despair. I love the fact that each song has a different timbre and focus, it never really feels like typical post rock - and that is something to laud in a genre full of GY!BE clones.

Highlights include the beautiful piano melodies of The Tragedy, and the amped up metal riffs of The Water Song and The Tree. The vocal content is minimal, but is split between clean and screamed vocals, unfortunately, the screamed vocals aren't really my thing, and kill some of the atmosphere that the soundscapes create. Fortunately they don't last too long. The other thing that annoys me somewhat is that the latter half of the album seems to drift too much for my liking. The Water Song is very much an ambient piece, but it simply does not build up emotion in a way that would make it more memorable. It is almost as if the music loses some of its direction. Maybe that was the purpose, but I can't help but feel that the album just meanders too much. A little more clarity and purpose would be needed to help maintain interest throughout.

Having said this, there are several moments of beauty in Blessed Are The Bonds, and I really enjoy the fact that The Pax Cecilia had the vision to create such and ambitious album. There is a tangible aura of despair in the vocals and lyrics, and of course, the lovely classical guitar closer The Hymn caps the release off in a positive fashion. I can't be too disappointed with this album, it was free after all; therefore all the more respect must be given to the band for allowing their work to become readily available. So please, if you can donate to the band, and ensure they can keep making more ambitious music.

Any Colour You Like There is always something alluring about dark, experimental metal. The promise of epic soundscapes, the promise of a cathartic release of stress, and the hope of finding a masterpiece. Cult of Luna's 2006 album, Somewhere Along the Highway is one of those albums that promises so very much, and almost delivers. Almost.

One could argue that the Post Metal 'genre' has effectively been mastered by the Neurisican bands that form the backbone of the stylistic movement. Somewhere Along the Highway takes the abrasive vocals and riffing of Isis, combines it with the soaring textures of Pelican and adds a certain almost oriental ornamentalism in creating a claustrophobic and dark cloud of noise. Tracks like 'Finland', 'Dim' and 'Dark City, Dead Man' are truly cornerstone movements that deserve to be considered as epic tracks in their own right. The build up to the eventual climax of each track is not necessarily bound by standard slow-rising tempo-rising volume-climax structures, and this greatly enhances the appeal of the album beyond now stale post-whatever structures. Instrumentally, I consider this release to be rather murky, it doesn't at all sound clean, but is full of sludge-like riffs, crisp drumming and near incomprehensible vocals. Now I enjoy a good growl within reason, and while the vocal style suits this release, they are very abrasive and purposefully obscure any lyrical development. This annoys me somewhat, given that no lyric sheets were included with the album. This is a double-edged sword, given that the added mystery perpetuates a deeper sense of melancholy, but also makes the album much harder to engage with than your run-of-the-mill experimental metal album.

For those wishing to challenge yourselves, Somewhere Along the Highway is an album that requires your full attention to enjoy. The atmosphere and density of the album is a lot to take in, and while the music is typically - or atypically dark, it is not depressing in any sense. To truly feel this album's power, you must first surrender to the darkness, and let it become a claustrophobic listening experience.

Any Colour You Like Pelican's debut self title EP should be a mandatory purchase for all Pelican and sludge metal fans. This little EP contains some of the heaviest, densest and most challenging metal I've ever heard. The EP shouldn't blow you away - but rather crush you into submission, in much the same manner that Pelican's debut album Australasia does.

'Pulse' and 'Mammoth' highlight the crushing density of Pelican's early compositions, and while neither are especially memorable, it is hard not to enjoy the visceral power of the instrumentation. 'Forecast For Today' is a little more expanded, and delves into the post metal category with a greater emphasis on developing an emotional soundscape that should challenge the listener with repetitive hammers of dense metal. Following in the expansive trend, 'The Woods' is a full blown epic that slowly builds into a powerful and chaotic climax amid a melee of thrashing guitars and percussion flourishes until slowly fading away. The 30 minutes of this release seem to last longer than the running time would suggest because of the repetitive and brutally heavy instrumentation that Pelican hammer into the listener. Such soundscapes are capable of evolving from simple crushing riffs into sweeping storm like movements. This little EP highlights what Pelican sludge is all about. It is dense, it is powerful, and it is somewhat ugly. There is some enjoyment to be had here, that is if being pummeled into submission by blows of metal is your thing.

Any Colour You Like I am a big softie for folk music, especially acoustic driven folk music. So when I discovered that Ulver's second album, Kveldssanger was an entirely acoustic affair, I was more than happy.

Kveldssanger takes a departure from Ulver's then typical melodic Black Metal style. There were glorious acoustic hints throughout Ulver's first album Bergtatt, alluding to the classical tone Ulver was later to use with Kveldssanger. Almost every track features a lovely classical acoustic, with a variety of strings, and some powerful, soothing chant like vocals courtesy of Garm. The atmosphere the album creates is very peaceful and relaxing, but it is also feels relatively intricate for such a simplistic compositional style. Kveldssanger is by no means a complex album - for that would be missing the point. Unfortunately, my Norwegian isn't what it should be, therefore some of the lyrical sections are lost upon me. Nonetheless, it is easy enough to ascertain that the album rotates around Norwegian folk tale themes of the forest.

Due to the relatively short nature of the tracks, and overall running time, Kveldssanger never feels too tired. Nor does it bore the listener with repetition - which is a good thing, given the relatively simplistic compositions and techniques Ulver use. This album is by no means great, nor would be especially interesting to everyone. But it has a unique charm, a charm that given the right moment, makes this quiet and unassuming album a more than worthy listen for any folk fan. Or indeed for those curious to see what lies amidst the dark Norwegian forests.

Any Colour You Like Australasia is the debut album from American Instrumental band Pelican. There are several things that stand out about Australasia as a release, but the most important of these is easily the visceral atmosphere the band creates through glacially heavy sludge metal compositions and raw post metal riffs.

'NightEndDay' is an epic opener, complete with towering riffs, massive breakdowns and charming acoustic grooves. If you want to know what early Pelican is all about, look no further. 'Drought' is a Oceanic-era Isis composition stripped raw, fusing powerful chugging riffs with delicate acoustic touches. 'Angel Tears' and the short but sweet 'GW' both showcase Pelican's ability to craft emotional movements that also happen to be layered thick and dense. 'Untitled' is a softer acoustic track that gives the album some much needed sonic diversity. The track is not especially memorable, but gives the listener a respite from the brutal mid-tempo riff onslaught. The closing track, 'Australasia' is again much similar to 'NightEndDay', and focuses around building heavy riffs, then deconstructing them with acoustic breaks an dynamic tempo changes.

Australasia contains several epic moments, body shaking, headbanging moments that make the listen all worth while. However in between these moments are long periods of seemingly derivative riffing, chug after chug of sludge that does tend to get old after a few listens. Nonetheless, the post-metal soundscapes are well formed, and suit the instrumental development of each movement. Australasia is thus, a heavy and fun listen, that may just suffer from an overall level of dynamic repetition.

Any Colour You Like City of Echoes is the third studio album release from American instrumental giants Pelican. City of Echoes has seemingly divided many inside the Post/Sludge metal community. However I don't buy into much of the ambivalent press the album has garnered.

Following the thick, sludgy Australasia and the epic Fire in Our Throats, City of Echoes focuses on developing more succinct movements, that contain more developed and diverse sonic edges. While the sludge that made the first two albums so very heavy remains, there has been an obvious shift towards a shorter and more succinct compositional style here. The drumming has been given more room to move, and the riffing seems more dynamic. The glacial movements are still there, but are more restrained, balanced out with acoustic breaks like 'Winds With Hands'. This means that City of Echoes is broadly more accessible than earlier Pelican works, whilst maintaining some of the trademark instrumental sludge that the band traded upon earlier.

Tracks like 'Spaceship Broken - Parts Needed' and 'Far From Fields' develop nice emotional atmospheres and remain fresh, without becoming derivative. The more compact style doesn't compromise the songwriting of the band too much, although the truly epic moments that made the first two albums so enjoyable are missing to a certain extent. The production on the album is more immediate, and doesn't seem as deep and well polished upon first glance. This is no major problem, and given the rustic aesthetic of Pelican's music, it fits quite well.

The Digipak artwork is also very nice, and despite an evolved sound that may alienate some older Pelican fans, City of Echoes is more than good enough to warrant a listen. Just don't expect glacial sludge metal - which is not always such a bad thing.

Any Colour You Like Green Carnation's debut album 'Journey To The End Of The Night' is an interesting, if not confusing album to evaluate. This is not a review as per se, but a collection of ideas relating to this inconsistent release.

The Good: Green Carnation composes some epic music. There is no question that this mix of Gothic and Post metal is an interesting and often epic mix. There are some nice riffs here, complemented by lovely female vocals. Several tracks are longer than 15 minutes, evolving through multiple phases to reach a powerful zenith. For lack of a better term, Journey To The End Of The Night is an ambitious album.

The Bad: It is far, far too long. The album really does start to drag on, past what I would have thought to be a natural conclusion. The epic riffs and emotional vocals made the songs challenging listens, but the running lengths make them somewhat boring, and overly repetitive.

The Ugly: The production is not bad, but did it never occur during production to add some more dynamic elements to the compositions. It feels improvised in parts, as if Tchort just decided to add an extra 4 minutes of riffing just for the sake of it. Messy and not very well structured is the impression I get from this album.

Despite the lengthy running time and messy nature of the compositions, Journey To The End Of The Night is an interesting listen for those who can keep their attention span wired on. The melodic riffing is nice, and there is no question that the album contains some nice progressive movements, but the sheer length and uncoordinated aura of the album forces the listener to step back too far for what should be a more engaging album.

Any Colour You Like Wavering Radiant is the latest album released by Post-Metal giants, Isis. Although the band themselves need no introduction to fans of this style, this album almost certainly needs an introduction to all.

Following the mildly disappointing 'In The Absence of Truth' and the epic 'Panopticon', Aaron Turner and Isis have crafted an unassuming masterpiece of modern progressive music. Wavering Radiant ticks all the boxes, simple as that. From the truly towering riffs on 'Hall of the Dead' to the keyboard laden 'Ghost Key', Isis' sound has never been as highly evolved, compositionally tight and well produced. What sets this album apart from others in the genre are the highly developed ambient bases that morph from sinister, yet unassuming jams into full-blown mid tempo riffs. Turner's vocals are as abrasive as ever, while his more mellow sections are more melodic and beautiful than those on previous releases.

The sludge that Isis made their names upon is still there, boiling away, but what makes Wavering Radiant different is that the band have found more than two gears. No longer is Isis restricted to soft and blisteringly loud, they now also come in flavours like mild noise and quite loud. the greater dynamic range really does make the compositions appear more dense and challenging, while a heightened sense of atmosphere acts as a soothing counterbalance. There is not much more to say, Wavering Radiant is a compositionally tight, well produced and emotional album that deserves to placed on the pedestal of metal greats.

As it stands Wavering Radiant is my top album of 2009, and easily my favourite Isis album thus far. Recommended to all fans of Post Metal, Sludge and Progressive Metal.

Any Colour You Like When I heard that Neige was releasing his second album this year I was more than excited. His debut album Souvenirs d'un autre Monde was an exciting album full of lucid charm and sonic goodness, but it just seemed to lack something, a certain emotional hook.

There is no question that Ecailles de lune has that hook. Beginning the album is the two part titular epic Ecailles de lune. Part one begins with dreamlike soundscapes, that soon gives way to typical Alcest riffing, mixing heavy, distorted guitars with heavenly vocals and keyboard sections. The track progresses through lurid ambient breaks and charging mid-tempo riffs. Part two showcases a similar style, this time combined with Neige's harsh black metal vocals. But don't worry, the album isn't typical blasphemous black metal, the theme of the album actually relates to love and loss at sea. It really is quite benign when you think about the conceptual meaning of the lyrics.

To focus on the black metal vocals is really missing the point of Alcest's aesthetical concept. This album is gorgeous. Lush, beautiful, epic and soothing, these are all terms never far away from my train of thought when I hear Ecailles de lune. Pierces de Luminere and Solar Song both showcase the shoegaze roots of Neige's style, combining abrasive riffs with simply stunning soundscapes. The closing track Sur L'Ocean Couleur de Fer is quite possibly the most beautiful movement Neige has ever created. Which is high praise in itself. If I had to sum up that track, and indeed most of the album, it would be sitting on the edge of a lake, watching the sun fall behind the horizon. Yes, it is almost perfection.

There is little I can say that will dent my love for this album. It the astonishingly beautiful, and has taken several steps ahead from Neige's debut effort. The more diverse soundscapes and powerfully developed emotional hooks mean that Ecailles de lune is a truly memoralble listen. Even the abraisive black metal vocals sound better than any I've ever heard before. Oh, and what a cover.

Any Colour You Like It is always going to be an interesting result when you combine such enigmatic influences as shoegaze, black metal and folk, but that is exactly what French multi-instrumentalist Neige has done with his now solo project, Alcest. Souvenirs d'un Autre Monde (Memories from Another World) contains a sprawling 40 minutes of wall of sound guitars, lucid acoustics and harmonious vocals. Don't be put off by the black metal tag, for while Neige has dabbled in that style, this release doesn't even come close to what Souvenirs d'un Autre Monde is all about.

There is not much variation on each track here, each containing a heavy, but not dark guitar mash. Combine this with simple and effective acoustics and Neige's lovely clean vocals, and you have a simple but beautiful recipe. The shoegaze tag applies well here, as does post-metal. Genre definitions aside, Neige succeeds in developing a memorable and beautiful album that transports the listener to the brightest days of spring, wandering through the verdant meadows. "Printemps emeraude" starts things off, and provides a good base as to what the album would later develop - or not as the case may be. The title track is more acoustically focused, but is in essence similar to the predecessor. "Les Iris" and "Ciel errant" continue in the same manor, mixing gleaming guitar with otherworldly vocal harmonies. "Sur l'autre rive je t'attendrai" begins with a powerful riff, but soon gives way to a lovely female vocal section before continuing in a typical Alcest fashion. The final track, 'Tir an nog" finally sees some real divergence from the styles of the previous songs, with a bright and happy Celtic mood closing the album on an ethereal high. On their own, each song is well crafted and a pleasant listen, however, the almost constant buzz of guitars becomes a bit stale after 30 or so minutes. The lack of dynamic divergence on the album is not terminal by any means, but it does on some occasions feel as though a similar riff just takes off from where the last one ends.

One of the real positive aspects of this album are the vocals, it is refreshing to hear such melodious and pure vocals from a metal artist - Neige has obviously been listening to a lot of Sigur Ros. The vocals really do resemble a French version of 'Hopelandic'. The quieter acoustic sections are also very pleasant, and when combined with the occasional keyboard flourish, it creates an undeniably uplifting and happy tone. Having said this, I was disappointed with the overall repetition of the album, and perhaps with a little more variation, Alcest could well have cracked it here. As it stands, Souvenirs d'un Autre Monde is a beautiful and charming album that just ultimately falls short of what Neige appears to be capable of creating.

Any Colour You Like I did not know what to expect when I downloaded Uaral's second full length album from their last.fm page (yes, it is free and legal). What I got was a wonderfully emotional mix of Classical Latin guitar, neofolk, dark ambient and guttural doom-like vocals. Mixed in with this, is a healthy dose of keyboard atmospherics, the occasional clean-tone guitar riff, nature samples and a further mixture of screamed, sung and cried vocals. Yes, crying.

Lamentos a Poema Muerto is a depressing album. I can't understand the vocals, but they sound quite brutally downcast. Combine this with the stark orchestration, gives the album a very solitary feel, and helps the listener gain a sense of mourning and loss. The latin inspired acoustics are really nice, and clash heavily with the growled vocals. Interesting, yes, but also quite experimental and genre-challenging. There is nothing technical about the music here, but with Uaral that does not matter. It is all about setting the emotion and mood. It is also worth noting that band member Aciago plays all the instruments, which is no mean feat in itself, with Caudal providing the vocals. Several tracks stand out, especially "Lamentos", which manages to showcase all the feathers in the cap of the band, whilst developing a soul-wrenching sound. The album is not without faults however. The deep guttural growls are extremely hard to understand, even making it nigh-on impossible to even decipher what language the lyrics are sung in. And while crying is a valid expression of emotion, I personally feel the cried vocals sections may be just a little too much for a relatively restrained and sedate album. It is also worth noting that there is no 'metal' as per se here - with the exception of the vocals. So if you were thinking of a Chilean version of Agalloch, think again.

Nonetheless, Lamentos a Poema Muerto is an interesting and thought provoking album, a wonderful experimental mash of ideas and sonic aesthetics. It also stands as a neat little hidden gem of Chilean music.

Any Colour You Like Terrific Terria

I never thought I would ever say this about an album with growled/shouted (albeit, not that many and tastefully done) vocals. Devin Townsend's Terria is a masterpiece. From the quiet, brooding opening to the bone-shattering cacophony of Olives, I knew that this was going to be a wild ride. Never has such a heavy build up made me smile, it just feels right. Devin Townsend's trademark layered sound is just amazing, powerful and subtle, melodic yet manic - he does it all.

Where the album really takes off is in the middle sections. Earth Day is an outstanding mash of metal, politics, craziness and truth, something Devin prides himself on. What makes Earth Day wonderful is that it appears on first listen to be just a relatively simple song with some crazy lyrics and typical metal aggression. But the message Devin portrays is much more interesting than you may first think, showing that it is a heartfelt composition. Deep Peace and Canada likewise have some amazing moments, quiet reflection and brutal riffing collide in each. The brilliance of this album doesn't lie in flashy production, nor technical virtuosity (although there are hints of that) but brutal honesty. The lyrics are insightful, the riffs are well placed, and most importantly, it is an enjoyable listen. The latter half of the album is more sedate and melodic, but by no means boring. Devin's vocals are particularly impressive, not expressively brilliant, but understated and human enough to let the music work wonders, without a resorting to an all too familiar cheesy metal tone.

While Terria is brilliant, it is not perfect (as no album is or ever will be). The album doesn't quite maintain the brilliance of Earth Day and Canada throughout, and some tracks seem unnecessarily long for my liking, although on repeated listens, they tend to make far more sense. In conclusion, I have yet to hear a prog metal album that comes close to Terria. Sure, others are darker, crazier, more technical and better organised, but wow, Devin Townsend does it oh-so-well.

Any Colour You Like Well I'm Damned

There is not much more I can add to the legions of prog and metal fans who have commented before me, but I shall try. Opeth's 2003 release, DAMNATION represents a drastic departure from their staple musical diet. As with any such divergence, especially from melodic Death Metal to a softer, largely acoustic album devoid of growled vocals was sure to split some of the fanbase. Given that Steven Wilson, of PORCUPINE TREE produced the album, it should come as no surprise that Opeth took this new musical route. There had been hints of a softer, more etherial approach in BLACKWATER PARK, but DAMNATION truly establishes Opeth as a versatile and interesting band worthy of great respect.

Several tracks stand out on this album; Windowpane is a brilliant opener, confidentially setting the mood of the entire album. Mikael Akerfeldt's vocals stand out, he almost seems under confident in his "clean" voice, it is actually very nice, and easily the most under appreciated aspect of the album. In My Time Of Need, a personal favourite, is accented by a lovely flown chorus and wonderful vocals. My only real issue with this album is that some of the tracks are too similar, it is almost like it needs a bit of the old Opeth fury to liven it up a bit. Nonetheless, the album is a brave calculated move, ultimately establishing Opeth, and Akerfeldt in particular as a force to be reckoned with.

Overall, a wonderfully produced, entertaining album with more than enough to interest many people. It may not be every Opeth or metal aficionado's favourite album, but it is hard to ignore the charm it has.

4/5

Any Colour You Like Anathema: Judgement

*Warning, your depression will not be helped by this album*

Having been passed on to Anathema by a friend, I managed to pick up a copy of Judgement, their 1999 album. On first listen, I was deeply impressed by the melodic power of the guitar work. The riffs are not particularly extreme or technical, but have a wonderful melancholic tone, mixing slow, dread-filled doom, with more upbeat melodic rock. The Cavanagh brothers show themselves to be very adept at writing mournful songs, with aching lyrics, (One Last Goodbye) bone-crunching riffs. (Pitiless) With all the band members all contributing to lyrics and music, the album feels wonderfully succinct and well crafted.

One of the first things that struck me was the depressing lyrics. I love depressing music, it has a clarity and truthfulness about it that other emotions lack, yes, some may not like the bleak lyrical content; but if you like Porcupine Tree, Riverside, Devin Townsend et al, Anathema's lyrics should feel just right. While this album could be considered weak Doom Metal, or in a similar vein, the music itself is quite accessible. Metal fans will enjoy the riffing and dark atmosphere, while progressive fans will enjoy the more subtle nuances interspersed between powerful riffing and mellow vocals. Despite the obvious power of the album, on both a musical and emotional level, I would not consider the album to be especially progressive. Don't expect blazing technicality, nor eclectic divergences. Judgement is a solid, if unadventurous album.

What makes this album worthy of great respect is the palpable emotion in the music. Few songs have made me feel initially so blue as One Last Goodbye, a song written for the Cavanagh's mother, who had died before the record was made. Judgement is a very competent album, that unfortunately suffers from its own being. It is so amazingly mellow and melodic, that it just blurs the music into one without really grabbing the listener for more than a few moments. This is a minor gripe, for the majority of the album, it is more than satisfying. Think of it as a chill out album, with melodic metal riffs and depressing lyrics. By all means, don't be afraid to try Judgement, you just might find a reflective side of your personality... in a good way.

Any Colour You Like Having heard Judgement already, my hopes were high going into Alternative 4 - as you would expect given the sonic goodness Anathema had made their name upon. The Anathema sound is almost at its peak here, driving riffs, filled with atmosphere, doom and visceral power. But there is also an element of frailty in the music, complemented by severely depressing lyrics. From the first chords of Fragile Dreams, it is apparent that Alternative 4 will be a moving experience unlike many others.

Whilst not progressive in the eclectic or traditional sense, Alternative 4 relies heavily upon lyrical imagery, mixed with deep layers to form a dark timbre and texture. Think Floyd, but metal. There are several links to the old Doom Anathema, but don't worry - the cookie monster vocals stay far away, and only the sweet sounding rhythm section remains. The album focuses heavily upon the theme of trust, or lack thereof, and in typical Anathema style, builds power and momentum with forlorn vocals. The combination of such interesting lyrics and beautiful compositions means that the album flows nicely and does not feel overdone. The small touches of violin and sweeping keyboard movements add an extra spice to an otherwise standard Anathema composition. Make no mistake - this is the ultimate Anathema album, even if it doesn't quite reach the same desperate atmosphere as Judgement. The reason I prefer this album over Judgement is quite simple, while they are musically very similar, Alternative 4 is more daring in its lyrical content, while still maintaining a heavy and dark atmosphere. Judgement may be just too similar, and possibly derivative to its predecessor compared.

Alternative 4 is not without fault, it is crushingly downcast, and perhaps never quite reaches the musical smile inducing zenith of Judgement. But given the conceptual purpose, development and beauty of Alternative 4's composition, it is hard to listen and not feel a sense of warmth, in the brutal honesty of despair.

5 Stars

Any Colour You Like When Anathema released A Natural Disaster in 2004, few traces of the original Anathema remained. Gone are the true Doom riffs and vocals, replaced with merely hints of that former sound. A Natural Disaster owes much of its sound to atmospheric rock, and an increasing dose of electronic experimentation. One thing remains constant however, and that is the typical melancholic and reflective mood and songwriting flair of the band.

A Natural Disaster is much more restrained than any previous Anathema release, even by Judgement's standard. This does not mean the magic has gone, but it does force the listener to focus on other aspects of the overall sound. The album heavily focuses around themes of trust, and the relations between people. Again, Anathema is lyrically strong, neither falling into cliches, not abstract nonsensical dribble. Vocally, this is one of the most diverse band efforts yet, Vincent Cavanagh carries the album well, including a lovely distorted electronic section on "Closer". There are obvious hints to Pink Floyd in the album, borrowing themes and concepts throughout, but still maintaining a characteristic Anathema sound. Several tracks including "Flying" and "Violence" are highly commendable efforts that ultimately drag the album towards an interesting climax. Amid a melee of guitar and percussion thrash, "Violence" builds up to what would normally end in a violent thump of mid tempo metal, instead it quietly subsides into ambient minimalism. I was initially underwhelmed by the restraint shown by the band, however, such restraint comes across as a much more mature effort.

I have to give some benefit of the doubt here, but A Natural Disaster lacks the impact and power of Alternative 4 or Judgement. It gains somewhat in maturity and sonic diversity, the concepts and instrumentation developed throughout the album seem like an apathetic move for the band; it simply lacks a certain punch and power that would push it beyond an underwhelming final summation.

Edit: In hindsight, I am far more underwhelmed with this release than I was initially. Approach with caution.

Any Colour You Like An impressive debut

I had heard good things about Riverside before I decided to venture into their work. I suppose this only heightened my anticipation of what was to follow, especially when you begin to hear comparisons to bands such as Porcupine Tree and Pink Floyd. Riveside's debut album OUT OF MYSELF has quickly established itself as one of the most impressive debuts in the modern progressive sphere. Mixing heavy layers of synthesisers, keyboards and emotive guitar, Riverside also delves into the labyrinth of progressive metal with astonishing confidence. Something rarely seen on a debut album.

While not as heavy as their following work, SECOND LIFE SYNDROME, OUT OF MYSELF begins with the wonderful mini-epic, The Same River, mixing powerful synth tunes with moments of metal goodness. With a heavy focus on melody and development of textured layers, many of the tracks have a Porcupine Tree-esqe vibe, but still manage to maintain a rustic and unique dark charm. Reality Dream I and II highlight the band's more technical side, with impressive instrumentals all round. The band must be applauded for their restraint, what makes OUT OF MYSELF different from other prog metal artists (including DT) is that they know when not to saturate the music with unnecessary fills and noise. In this sense, it is a restrained, yet brooding album that builds tension through feel, rather than out and out power or bombastic tunes.

There are a few points that need to made however. I found myself in a love/hate relationship with the vocals. For instance, the softer vocals on the closing track, Ok fit the mood perfectly, a nice soothing balance. However on some of the heavier tracks including the title track, Mariusz Duda's vocals seem strained and weak. The angrier, tone does not suit his voice, but thankfully, such vocals are not that prominent on the record. There is much to laud about Riverside, they are a fresh new face on the progressive scene, again further proof that good music can come from all corners of the globe, in this case, Poland. Definitely deserving of a solid 4 star rating.