Delirium

Few subjects can hope to be as poignant and dark as that of one’s demise, be it that of the collective endeavor of a metal institution, or even the mortal end of one of said institution’s more treasured individuals. Ghost Ship Octavius brings a clear sense of credibility to the pursuit of musical darkness as it was born out of the concurrent demise of two prominent modern metal acts in the American scene in God Forbid and Nevermore respectively. Stylistically they’ve tended a bit more towards the latter band, perhaps in no small part because former God Forbid guitarist Matt Wicklund was himself a one-time collaborator with Warrel Dane through said Nevermore front man’s solo project, yet they’ve also managed to carve up a fairly unique progressive niche of their own that more closely resembles the smoother, more atmospheric character of Scandinavian progressive outfits running in similar circles such as Anubis Gate and Communic.

Though a clear break was made from this band’s Nevermore roots from the onset with their eponymous debut, their recent studio follow up Delirium further cuts ties with the ultra-technical, mechanistic monstrosity that dominated the 90s and 2000s with something far more melancholy and nuanced. Some of this lay in Wicklund’s more melodically tinged lead guitar work, which contrasts with Jeff Loomis’ flashy technical approach quite heavily, and also a greater degree on consonant, smooth keyboard elements that serve to further soften an otherwise heavy and fatalistic musical foundation. But the biggest contrast by far is the vocal work of Adon Fanion, who is about as far of a cry from the admittedly exaggerated and at times overdone mellow drama of Warrel Dane. Despite being from the same dreary urban swath in the Pacific Northwest, Fanion’s smooth and fairly conventional croons, accented with the occasional gritty shout, would seem to be more appropriate to the likes of Threshold or Vanden Plas, yet works masterfully in this capacity.

Naturally with any summation of a band’s signature sound there are a number of caveats, and in this album’s duration, it comes in the form of a fair collection of heavier songs that come off as revisions of something that could have made it onto Nevermore’s The Obsidian Conspiracy. The most auspicious of these crushing, down-tuned fits of sonic punishment is the brief yet brutal “Saturnine”, which sees Adon putting a bit more throat into his vocal assault at key points, and also finds Wicklund’s riff work getting notably busier and more thrashing. All the same, this punchier approach is tempered with a smooth and poised clean sung chorus that is far more organized and effective than Dane’s often scatterbrain and overdone bellows, and similar displays crop up on the more mixed up hybrid of balladry and power that is “Chosen” and the mid-paced and almost hard rocking “Bleeding On The Horns”, and is correspondingly adorned with a more measured degree of vocal drama and grit.

Having said all of that, this is an album that is more in line with the ironically convention, and very much symmetrical songwriting approach that has been a staple of the less “out there” progressive acts to come forth since Dream Theater and Fates Warning first put the style on the map in the late 80s. Beautifully realized hybrids of atmospheric splendor and impact-based, rhythmically involved riffs and beats such as “Turned To Ice”, “Ghost In The Well” and “The Maze” have that combination of intricacy and brevity that hints at where the style was in the early 90s, yet painted over with a modern sense of sonic darkness that likewise recalls where things have gone a bit more recently. But more so than anything else, the really good progressive acts know when to pull back the technical elements and throw out a good catchy hook to keep their audience engaged, and no clearer example of this is there than that of “Far Below”, arguably the best song this band has ever put together and one that succeeds where many of Nevermore’s supposed hit songs missed the mark.

Though much of this material was likely written prior to the late 2017 passing of metal legend Warrel Dane, the generally somber and abstract character of this album could be seen as a final tribute to Wicklund’s and Van Williams’ former compatriot. My author of this review was largely ambivalent regarding Nevermore’s seminal offerings, but even he would be remiss to understate Dane’s lasting impact on the present American scene, which lives on to a fair extent through the ongoing exploits of those connected with both Nevermore, Sanctuary and his own solo project, not to mention several recently formed bands paying tribute to the unique niche he pioneered following the close of the 1980s. Regardless of whether one counts himself a fan of Nevermore or not, this is a truly breathtaking excursion into progressive metal that any avid follower of the sub-genre should experience.

Originally written for Sonic Perspectives (www.sonicperspectives.com)

American prog trio Ghost Ship Octavius went ahead and tossed out their self titled debut album back in 2015, and have since kept teasing a follow up. Backed by private kickstarter patrons, said follow up is finally arrived. Titled Delirium, it is in every aspect a stronger effort than the first album, even though it doesn’t carry the same dramatically emotional highs. A more moderate effort, Delirium showcases first and foremost restraint from the members three, in songwriting, musicianship and how the album came to be.

Not released until the result was deemed absolutely finished, the album presents a formidable darkly progressive metal album in the vein of Nevermore (well duh) and the likes, while carrying on the sound introduced on its predecessor. The band consists of drummer Van Williams (ex- Nevermore, ex- Ashes of Ares) and guitarists Matt Wicklund (ex- Armageddon) and Adon Fanion, the latter also doing vocals.

While the latter two deliver some great parts, the guitar sound and the riffing doesn’t carry the same lethal venom as before. Still, it’s potent and delivered with a laid back sense of purpose, while never taking the upper hand or showing off. Solos in 'Chosen' and 'Turned To Ice' are sweet and emotive, with Williams’ drums laying meaty ground work for the melodic flow to enlight.

Admittedly, a track or two is somewhat lackluster and added as padding, but mostly, the guitar work of Wicklund and Fanion on Delirium is a thing of laid back beauty. They deliver hard trimmed riffing straight out of hell in parts of 'Saturnine' and 'Ghost In The Well', and softly toned melodics in parts of the meaty title track or 'Edge Of Time'. The inclusion, but not overuse, of keyboards as an accent piece also adds another dimension to the already deep and versatile scope. The drums have a solid sound to them, fleshy and vibrant, giving Williams’ input a more organic sound than on the debut, which was slightly canny. Fanions vocals feel restrained, but colorful and bursting at the seams with passion; choruses such as in 'Chosen' or 'Edge Of Time' deliver with a heartfelt slap.

Delirium is a more moderate piece than the first album, going the length to present a wholly stable listening experience, that’s just as fresh at the start as it is when it closes. Whereas the previous album was heavy with dark melodics and a progpower tinge, Delirium is instead built on a progressive foundation with extra progressive fillings. Opening track 'Turned To Ice' is at first glance not your typical opener; while most of the album deals predominantly in mid paced tracks, 'Turned To Ice' feels even slower at times, but the melody in Fanion’s voice is undeniable as the striking chorus, delivered with ample emotion, hits hard.

The piece that is missing, is that burst of untamable energy (listen to 'In Dreams' from the debut) to stand out and deliver all with a massive burst; Delirium holds back, and while in the majority of the album it is a good thing, as a whole it… lacks a little something. Still, the emotion put on display, coupled with the musicianship and above solid songwriting makes Delirium a must hear in this year’s prog metal output.

Standout tracks: Turned To Ice, Saturnine, Chosen, Edge Of Time