Where Stories End

It's a curious paradox, but for all the implications of the progressive term towards the idea of variety and eclecticism, the resulting metal strain has a fairly uniform style that is followed consistently by many, if not most within it. This could perhaps be due to the continual loyalty to the original ground broken by various 70s progressive rock outfits, since the characteristic sound of Rush continues to shine brightest through the prism of influences thanks to the ongoing influence of Dream Theater. There is, however, a degree of nuance that separates a purely progressive affair such as Dream Theater and the various similarly geared outfits with more of a symmetrical, power metal character to them such as Pagan's Mind and Anubis Gate. It can be similarly observed in the younger Swedish outfit Darkwater, which takes a similar road to the aforementioned Scandinavian outfits, though perhaps a bit more conservative in terms of their sophomore LP Where Stories End.

While this band definitely shares a common thread with a number of different outfits merging progressive metal with power metal influences, the easiest comparison, with a fair amount of contrast, is vocalist Henrik Båth other project Harmony. Both bands definitely share some external commonalities given their identical instrumentation, as well as their reliance on a dueling keyboard and guitar approach to virtuoso soloing sections and interlude material, which is a major part of where the style tends to diverge with most conventional power metal. However, while Harmony's material tends to exhibit more of the speed metal and traditional characteristics of the earlier 2000s power metal sound that was also heavily popular in Sweden, Darkwater leans a bit closer to a groovier, percussive and rhythmic sound that is more readily associated with a post-Dream Theater sound, using the keyboards as both an atmospheric tool and an active melodic foil to the often unified rhythmic stomp of the guitars, bass and drums.

But despite the generally mid-tempo and groovy character of the arrangement, this is an album that does lend itself to a more conventional audience that likes a good catchy hook. The songs are a bit longer than the average power metal tune, but they tend to follow a fairly simple scheme that expands upon a basic song format with gradual variation and longer solo sections. The keyboard work on otherwise standard grooving numbers like "Breathe" and "In The Blind Of An Eye" is what gives what might otherwise be a Gothic tinged stomp the flavor of a spacey and deep musical, either via synthesized orchestral sounds, organs or techie effects. The lead keyboard work spaced throughout most of these songs points to a heavy Jordan Rudess influence, though the guitar solos are a bit less fancy than a typical John Petrucci shred fest and remind a bit more of Jørn Viggo Lofstad.

This is an album that can largely be described as extremely good fun, though also a bit on the safe side in terms of a total package. There is generally a dual approach of mid-tempo with occasional fast elements in most of these songs, contrasted with a side order of balladry. The former category owes much of its stylistic demeanor from Dream Theater's Awake, with maybe a few elements of the darker character of the same band's later works, whereas the balladry reminds just a bit of 1990s Fates Warning, particularly Parallels. It's definitely on the dark side of the progressive equation, though it doesn't reach the levels of morose cynicism that typifies Nevermore. It still conforms itself to the Ulterium/Nightare Records trend of Christian oriented metal where an implicit light at the end of the tunnel is in view, though it's definitely on a less optimistic road of recent fellow travelers Seventh Avenue and Theocracy.

I started my Metal life baptized with Dream Theater, but as time goes on, I’ve moved further and further towards Scandinavia when it comes to my Progressive Metal leanings. Darkwater’s new release, “Where Stories End," only takes me one step closer.

Prog is a funny genre. Too often, I find that bands get too wrapped up in their own instrumental proficiency to offer listeners much of anything to really sink their teeth into. Thus, Progressive Metal tends to be low on my personal all-time favorites list. Some bands, however, are able to strike a chord with me by balancing technical prowess with tasteful, catchy, and undeniably excellent song-writing. Bands like Pagan's Mind and Vanden Plas have set the bar for this school, and Darkwater is clearly out to join them.

“Where Stories End” is a complex yet accessible feat of musicianship from a band that has sprung from the shadows to hurl an impressive album at the feet of the Metal community.

The album has everything that it needs to be immensely successful: truly excellent production, very fine crunchy guitar work, tight and proficient instrumentation, and a great collection of well-composed songs. More than just these elements, the entire performance is delivered with conviction and passion.

There’s a lush complexity to this music which, hand-in-hand with the superb modern production, sculpts a dense and varied landscape. In this case, the length of the songs (most between six and nine minutes) serve to aid the listener in a deeper exploration of the album's intricacies rather than dragging anything out.

Mentioning specific tracks isn’t quite the way to go with this album. Rather than any particular standouts, I feel that “Where Stories End” is a very evenly composed album, and all tracks are equally (and very) enjoyable.

With Vanden Plas’s new album missing the mark a bit for me this year, there was a Melodic Progressive Metal-shaped hole that needed to be filled. Fortunately, while unlike Vanden Plas in many ways, “Where Stories End” fills that hole completely. Spread the word on this one, it’s definitely a winner! Currently my personal best Progressive Metal album of 2010.

Originally written for www.metal-observer.com