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The orchestration is sharp and pressing, and the guitar work is probably the heaviest on the album. The title track takes an unexpected turn towards feeling almost urgent and even scary. It has a bit more in the way of riffs to enjoy, but the piano work is astounding, and the ending is amazing. “The Advocate” is the “epic”, so to speak, and it does not disappoint. “In the Midst of a Dream” feels immense with its heart-stopping central melody, and the trumpeting near the end is welcome. “Innocent” is another favorite, and displays a bit more edge, but plays it up against delicate flute passages and inventive orchestration that feels like way more than just background filler. It transitions from an organic cello lead into off kilter musings into a grand, harmonious, uplifting ending. Truly stunning work.Įvery song here is worthy of mention, but I’ll try to cut that down a bit. The piano can be heard on pretty much every track here, and the fomenting melodies tend to lead the music into colorful and climactic passages. The keys are probably my favorite of all, though. Overall, everything sounds amazing and very sharp and natural, and I love the way the guitars are used to great effect without becoming a constant presence. I wanted to take a second to recognize the excellence of the performances on this album. Artificial Silence uses them almost like touchstones to help make each track feel unique and separate.

For instance, I like trumpets, but I am not really a fan of the way that some bands, like Thank You Scientist, use them constantly and chaotically. The album features several non-standard (for prog) instruments, but they are not used to the point of annoyance. One other thing I have noticed is that Artificial Silence does not overuse elements. It feels so amazing, and they transition into these segments with veteran elegance and thoughtfulness. There are several points on this album where I just have to sit back and fade away into the purity and brightness of the melody. One thing I have mentally noted about this band is their ability to create light with their melodies and harmonies. It just seems like they have everything you could possibly want in one album. The vocals, too, are gentle and melodious. This band truly has the hovering classical grace of the Moody Blues, while also laying down some great riffs, bluesy musings, and winding instrumental passages. What I care about is the fact that this band uses cello, flute, synth, orchestration, and horns to massively successfully effect. Honestly, neither of those labels really matters to me here. The band really does ride the line between the two. The music here has been labeled as prog metal in some places, and prog rock in others. Many people put their mark on this album. There is an entire orchestral section, too, as well as a choir. This album is enormous, though, with at least a dozen guests playing everything from cello to flute to trumpet to synth. The members seem to jump around to various instruments, so we shall see how everything goes from here. I can say that Rylie and Austin provide vocals, at least.

The band consists of Joe Crandall, Nabil Fadili, Rylie Nelson, and Austin Schend.

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The band, according to them, are still trying to figure out how to credit which musicians played which instruments on the album. It would have definitely made my list of favorites last year.Īrtificial Silence hails from Washington State in the USA. Artificial Silence released their debut “Negative Silence” in April 2018, and it really is something to behold. I don’t normally review “old” albums, but I happened upon one that is an exception.