This is the third album of progressive metal songs from Vicinity, a long-standing band out of Trondheim in Norway. The melodies and rhythm patterns are said to be of appeal to fans of Threshold, Circus Maximus and Dream Theater.
The start could signify any progressive metal band you choose, among them the above list and Haken. The instrumentals, dashed with keyboard work, are solid. The vocals cut in. The words and the tone scream “progressive”. Yes, this is for people who like Threshold and co. Melodrama is at the centre of “Promised Paradise”. In amongst the melody and the drama, Vicinity slow things down and restart the ascent. Make no mistake, this is a good song with a strong backbone, plenty of instrumental invention and a structure to engage me and I’d imagine other listeners too. We descend to a swamp, characterised by the vocal delivery, and engage on a march. Vicinity manage this brilliantly, taking us into a world of exciting, unconventional metal – there’s definitely a comparison with Haken to be made here. Ending on a climactic note, “Promised Paradise” is a colourful and life-affirming journey of just under 12 minutes.
“Distance” heightens the emotive element. The vocalist provides comfort. The instrumental work, which again has the hallmarks of Threshold, is expressive and prog in style. Vicinity are in control, subtly transforming the tempo and managing the mood. “Purpose” approaches the epicentre of prog metal with its word-heavy progression and keyboard solo. Just as I thought it wasn’t really going anywhere, it darkens and Vicinity take off in a different and interesting direction. The melody is there and with all the intervention, in a prog sense I should stress, I concluded that this is a song which probably needs a few listens before I fully appreciate its finer points.
It’s all been heavy, but “Confusion Reactor” starts as the heaviest song far before dropping in to the melodic prog metal groove. A break for a reflective narrative is followed by a keyboard solo before the catchy chorus line returns. An enticing and vivacious introduction heralds “The Singularity”. It bounces along in its melodic way, darkening here and there. Vicinity have a knack of introducing a quirky element to their songs, and they do that here with a short passage which sounds like it could have come from a West End musical production, and a growly ending. My only criticism is that they should indulge themselves and us listeners in these fleeting diversions for longer. It’s almost as if there’s something apologetic about them.
After the fairly unmemorable “Shape of Life”, Vicinity crank up the melody switch with “DKE”. The drumming is sophisticated throughout this album as it is here. “DKE” is a fizzing instrumental track which takes us into all directions of prog wonderment. It started with a 12-minute song and finishes with one in “Face the Rain”. An emotive beginning leads to a riot of instrumental colour, something that this band is good at generating. The singer returns and sings with feeling, continuing his tale and reaching to the skies as the melodic prog backing pumps on. Mixing clean voice with occasional growly narrative in the manner of Dreamwalkers Inc, the vocals are excellent and match the progsphere of dreams and adventure which Vicinity present for us. The music is colourful as ever. Merrily and melodically we are taken to the end of today’s journey.
I shall look out for Vicinity now that I know about them, and am surprised that I hadn’t come across them before, but with so many bands out there this is the way things are. This band has “ProgPower Europe” written all over them. It could be argued that stylistically this album is born of an amalgam of the top progressive metal bands, but “VIII” is an accomplished work from a group of talented musicians. The album is expressive but I do feel that Vicinity could make more of their experimental diversions and ideas, and in doing so they would express their own identity more strongly.
(7.5/10 Andrew Doherty)
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