Between the Buried and Me. For the fans, simply stating the name is a point of reference to what heights metal can climb. Since the first time I heard The Silent Circus in high school, I have been glued. What started as a morbid fascination with a sound I was not familiar with grew into a massive appreciation for progressive metal and any musician with balls enough to color outside the lines. Originally classed with the slew of metalcore bands that came out at the same time, BTBAM have spent the last 15 years (has it been that long?) evolving and growing into something far more. And all of this has now led us to Coma Ecliptic.
Let me begin by saying that the cleaner prog-rock sections here are masterful. And to any detractors (I myself was worried) regarding the decrease in pure metal, breathe a sigh of relief. For it is precisely the improved builds of Rush-influenced rock that makes the explosion of harsh vocals and distortion all the heavier. The way that “The Coma Machine” lulls us into a fun-loving, “Bohemian Rhapsody” sing-along stupor with its bouncy piano and upbeat melodies...only to blast us with violent screams; it's masterful. Then there's “Dim Ignition,” which sounds like an outtake from Daft Punk's Tron soundtrack, and yet never feels out of place. BTBAM don't play with dynamics: they whip them, saddle them, and ride them to victory. Even when they are being silly with Foghorn Leghorn-sounding vocals, the movements are incredibly fun.
For those unaware, this is a concept album, much like the previous effort. I'll leave the specifics to you and Google, but suffice it to say it has to do with a man in a coma, dabbles in science fiction, and reminded me vaguely of the synopsis to Mastodon's Crack the Skye (not a bad album to be compared to, btw). The thing is, I could really care less about the story and I'm still floored by this album. The way that “Famine Wolf” digresses into a jazzy conclusion and transitions to the piano and acoustic-driven intro to “King Redeem...” is so musically satisfying that words aren't necessary for me. That said, the melodies Tommy Giles Rogers cooks up on this opus are phenomenal. If you love progressive music, from King Crimson to Muse, from Meshuggah to Yes; you will love this album.
I'm really not sure what else to say about this one. Between the trippy 70's synths, varied songwriting, and incredible performances all around, BTBAM may have very well topped themselves with this one. I have always raved about Colors when pressed for a favorite album, but now...I'm not sure. It's also cool for a long-time fan like me to hear glimmers/throwbacks to old sounds. For instance, “Node” is like a love note to Colors' “The Backtrack” while “King Redeem - Queen Serene” reminded me of some of the softer moments on The Silent Circus. In the end, this is but another giant step for a group that has always impressed me with its willingness to push boundaries, blur lines, and ultimately make each album a different experience. I am tempted to say that this is the peak of what the group has been building to since day 1, but I think these talented musicians may have still only reached the first summit. Give yourself to the prog on July 7th.