Within the Expanse

I came across this band/album in the early-00’s, and couldn’t help but appreciate what these obscure Frenchmen had cooked as their fascinating mixture of dark atmospherics and complex song-structures were quite reminiscent of the US progressive thrash wizards Anacrusis. They were pretty much the first outfit to try something more complex on French soil predating Loudblast’s “Sublime Dementia” by three years. Their one and only contribution to the scene fitted like a glove into the technical/progressive metal mania that was the last outcry of classic metal greatness before the groove and the post-thrash invaded the world and drastically altered the music scenery.

France also had to give its share to the more demanding tastes of the early-90’s, and here they were, these four lads, putting their homeland on the progressive thrash metal map. “Decaying Ice” starts the saga with dark brooding riffs hinting at a possible doom metal carnival; suggestive melodic hooks appear before more aggressive thrashy riffage changes the landscape and the mid-ranged semi-clean vocals hit. The engaging thrashing is intercepted by an atmospheric balladic interlude, and this alternation lasts till the end a certain portion of the playing time stolen by the very good leads. “Co Walker” creeps forward in the same quasi-doomy fashion as its predecessor until more brutal thrash/proto-death commences, the madness recalling their compatriots Massacra; expect slower stomping breaks along the way as well as a labyrinthine virtuous riff-salad in the best tradition of Anacrusis. “Heady Steams” focuses on the tender balladisms initially, but before long heavy pounding rhythms interfere leading more aggressive thrash/death after them the latter cannonade reminiscent of Messiah and Protector quite a bit; it all comes down later with the staple quieter passages in due time putting things under control, not without the help of another portion of fine lead sections.

“Mother Country” complicates the environment from the get-go with more intricate riffage bordering on techno-thrash, before the band start lashing furious thrash/deathy riffs those taking turns with choppy mazey decisions with echoes of Coroner’s “No More Color”. “The Faceless Ones” is an impetuous thrasher with fabulous leads, more dramatic progressive build-ups, and a really intriguing calmer section assisted by effective hypnotic recitals. “The Hanging Garden” starts moshing with all the vigour from the beginning, but the slower deviations can never be too far away although the speedy parts dominate isolating the several attempts at more melodic configurations. “Bruised Memories” wraps it on with the most complex riff knots on the album those served first, later transformed into an appetizing fast-paced skirmish, the obligatory slow moment again throwing another virtuoso lead stroke; still, the show is stolen by more interesting, also alluringly melodic, riff-patterns provided in the second half closing this multi-layered effort with aplomb.

What I find admirable above all is the band’s very good sense of balance; they never overdo the use of the quiet moments, neither do they rage with all the passion they can summon from here to eternity. Both sides are kept strictly under control again in a way similar to Anacrusis as there’s never awkwardness between the switches from one delivery to another. There’s certain penchant for thrashing beyond the borders of the genre towards the already established death metal currents, but after all the guys had very good examples to follow in the face of the French Big Four (No Return, Loudblast, Agressor, Massacra) who were advertising the thrash/death metal hybrid far’n wide at the time. Starting relatively late their career, the band were hardly looking to disturb the hegemony of those outfits, but they did show how complex, though-out metal could be produced in France, something which became daily occurrence in the big country some ten years later. If Droys are the undisputable champions of the technical/progressive thrash/death metal idea over there before the new millennium, this unknown act have all the rights to play the very legitimate second fiddle on the less ordinary musical festivities in the Land of the Franks.