2021 has not been kind to Australia’s music scene. Roving lockdowns and tighter measures implemented for public safety have put a halt on plenty of live events across the country, but that hasn’t put the brakes on the creation of music. Progressive metal four-piece Teramaze, who earlier this year put out the ambitious “Sorella Minore” are back again, this time with a nine-track full length recording; “And The Beauty They Perceive”. Unlike the previous release which was a conceptual progressive rock opera of sorts, ATBTP is 9 stand alone, unrelated tracks which don’t conform to any lyrical or musical motifs set out in any overarching narrative manner of sorts, they are simply 9 tracks which showcase just what Teramaze can do when the excess of creative energy is still present after some intense compositional work and arrangements. So, let’s get on with it!

The titular track opens the release and almost immediately you can tell the difference in the approach compared to the work Termaze released earlier this year. Powerful guitar riffs which are there to make a statement backed up with soaring synths and a tight, crunchy groove underpinning it all freely flow in that manner most modern progressive metal releases do. Rich melodies both in the music and the vocals give plenty for your ears to latch on to and the compositional quirks like the ascending feel in the chorus, darker melodies which play counter-point descending to ascending vocal melodies and plenty of flashy and tricky lead fills and technically loaded but expressive guitar solos all play their part in giving a pretty good example of what to expect on this release. It’s one hell of a statement as an opening track!

“Jackie Seth” is a moody, bass driven track which has some powerful chugging guitars and slick vocal deliveries. Like a strange mixture of Michael Jackson’s ‘Billie Jean’ and Queensrÿche’s ‘Della Brown’, it has a narrative feel to the lyrics and plenty of musical hooks which take hold whilst holding it all together with some fantastic technical instrumentation and dramatic synth arrangements. “Untide” is a bit more straight forward – a fast paced modern progressive metal number which has a real thick and heavy guitar riff loaded with nimble finger-work, catchy vocal lines and lots of expressive performing both vocally and guitar/synth wise. Again, the dynamic ascending and descending synth lines play massive parts, augmenting the vocal melodies beneath, and the choruses in this track feature some impressive vocal sustain and power with the dramatic closing notes. Both these tracks, back-to-back, along with the titular opener provide a pretty good taster of what to expect across this release – expressive modern progressive metal with plenty of thought to atmosphere, dynamics and arrangements as opposed to compositional complexity for the sake of complexities’ sake.

“Modern Living Space” is the first of two 10+ minute tracks on the release. With its 80’s-esque synth refrain dominating the intro, the track plays heavily on the steady flow of sections – softer vocal and piano give way to more animated and heavier sections in the verses, the intro is re-worked a little as the chorus and the best way to describe it would be Journey meets Dream Theater, a heavy dose of melodic AOR meets high level musicianship. Loaded with plenty of compositional spots which will appeal to those who like to hone in on the little details, this track is long enough and has plenty for you to get lost in. Ascending and descending riffs, subtle synth nudging and vocal direction in the mid-section combined with some flamboyant and virtuoso spots pack the majority of the track out and it comes off well, striking that balance between expression and extravagance. “Blood Of Fools” is similar to ‘Untide’, except this one has a grittier feel to it. Another punchy, modern progressive metal track with a punchy groove and expressive vocals, it serves as a good transition track from the 10+ minute one preceding it and it keeps up the overall momentum of the release.

“Waves” is the ballad of the release. Vocally dominated from the off, it is a fantastic example of how to play and perform with emotion and feeling. Empowering and uplifting, it’s a steady paced track which isn’t very diverse lyrically, but it doesn’t need to be – the sublime guitar work on offer, more than makes up for it as does the vocal delivery which is loaded with a rich melody and plenty of expression. It might be the shortest track on the release, but the amount of detail in the arrangements in it is fantastic and it serves as a good breather before it kicks off again with “Son Rise”. Massive sounding from the off with its hook laden synth refrain and trailing chords and thick rhythm section, it is a solid prog metal number once again, this time leaning more to the modern melodic metal side of things, building up to a massive guitar riff-driven heavy mid-section which wouldn’t be out of place on any melodic metal release. With more shred-heavy leads and an emphasis on big and heavy in the latter stages of the track, the way it builds up before kicking in works rather well and seems to set the stage for the final two tracks.

“Search For The Unimaginable” has the modern Dream Theater vibes all over it once again – tight rhythmic execution combined with the atmospheric synths adding direction and vocals which paint a picture which seems to effortlessly fit the music they sit upon. Punchy and hard hitting, it’s pretty loaded in terms of the intricate side of things on the compositional front whilst some of the vocal sections have plenty of power and expression in them, keeping up the standards set across the release from the first track, balancing power and emotion in a fine mix without needing to sacrifice one to emphasise the other. Closing the release is “Head Of The King”, the second of the long tracks, this time coming in at 11+ minutes in length and it is a fitting climax to what has been a highly impressive progressive metal release. Packed with complexity in both composition and execution, the dynamically shifting track allows for the band to shine as both individuals and as a unit – the subtle shifts from verse to chorus come off effortlessly, the vocals stand out and also help back up the over-arching synths, the guitars continue to keep the high standard which they have done all release and the bass and drums remain as tight as ever, underpinning it all, be it the frantic virtuoso moments, the heavier crunches or just the general flow of things, they never seem to be out of place in how they keep everything perfectly locked in step. Dramatic musically and undoubtedly progressive indulgence at its finest, it is a solid closing track which caps off an exceptional release.

“And The Beauty They Perceive” may be Teramaze’s 9th studio album, but it could well be the album which introduces them to a far wider audience. It’s a phenomenal example of modern progressive metal, something which some of the more established giants of progressive metal seem to have lost sight and sound of on previous releases over the past few years or so, and I’m going to stick my neck out and say that this is a strong contender for the ‘best progressive metal release of 2021’. Whilst some progressive bands seem to pour more emphasis into the technical aspects of the music, especially with its execution, and how they seem to make some things needlessly complex just because they can, Teramaze have managed to hit a balance, making up for any perceived lack of virtuosity in the compositions and playing with solid arrangements, plenty of atmospheric expressiveness and knowing when to pull the trigger on the indulgent spots to let them shine where appropriate. It’s a fine example of what modern progressive metal should sound like from a band who really should be noticed more!

(9/10 Fraggle)

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