Formed in 2009 in Regina, Canada, KELEVRA continues to supply a serious dose of progressive metal to the masses. From their EPK, the band describes their sound an album as “Every track on the album contributes to a very unique product overall that is hard to categorize within a specific metal subgenre. Current fans of the band will be greeted with a familiar taste of past material while experiencing a stronger, mature sound. With this album, which was both deliberate and coincidental in the writing process, we will be providing listeners with an experience that leaves them on the edge of their seats. Each song is crafted to take the listener on a progressive metal journey from beginning to end. Despite each song being very unique from the rest.”

The album has eight songs, and “Atoned” is first. There is a dark ease in to the heavy and aggressive sound, and the vocals are tortured screams. The riffs are just a bit too simple for me however, and the band could use some thickening up of the sound. “Cleanse with Fire” has some better, varied riff work along with some effects, but the vocals remain in the same key. The slowed down section offers a different style than the rest of the song, and it’s also pensive and emotional. “No Voice” has a similar sound, especially in the vocals. If the band could at least vary them a bit, the album would have more life to it. “The Distance” has a more adventurous riff and the band shows their musicianship here, and the song is tightly constructed and well performed.

 “Self-Extinct” has another exploratory riff, and the band is starting to find their stride on the album. The vocals are also livelier, as are the melodies. So far, this is the best track on the album. “The Mad Wind” has an energetic and hard driving sound as well as some more varied riff work. The slower, more introspective section is also well done, before the return of the controlled chaos. “Despite What You Owe” hears more of that pedal to the metal sound from the band, and besides a few slowed down passages, they seem more hell bent on driving their sound home with a bang. “Lifeblood” closes the album, and it has another shifting riff that climbs up and down and doesn’t stay in one place too long.

The album started off a bit slow, but it picked up with energy and intensity, as well as varied riffs as it moved along. I like that the band took some chances, and changed their sound a few times along the way. Although the vocals were raging and the singer has a strong harsh voice, a little variation on that front could have lifted the album up a bit more.