Prog death-metal outfit FALLUJAH expand horizons and solidify their position as one of America’s most exciting acts on their new album, “Xenotaph,” through Nuclear Blast. The main goal was elevation, building upon yet soaring upward from Empyrean, one of the group’s strongest productions to date. The team focused the separation of FALLUJAH’s breakneck pace, meticulous song craft, euphonious leads, and unrivaled intensity, creating an experience pulls the listener into “Xenotaph’s” high-caliber music and concept.

The album has eight songs, and “In Stars We Drown” is first. Right off the bat, you can tell that they have developed their sense of melody and atmosphere even further on this album. This song enters your nose like a warm, hearty, and familiar smell, and leads you down a path of excitement. Their trademark attack is still very lively. “Kaleidoscopic Waves” enters with a full on attack of Progressive and Technical Metal that eases off as quickly as it entered. They are masters of timing, and hit every note as it is was their last. Although the harsh vocals rage with anger, the cleans are quite melodic, and it’s about the balance the band strikes for me.

“Labyrinth of Stone” seems like it’s headed into utter darkness with the first few bars, but again, they let a clean path of light through to shine your way. The vocals harmonies are nothing short of delicious, and their technical ability is truly out of bounds. “The Crystalline Veil” has as much melody as hardened tones, and the two take aim at each other, lock horns, and battle until the end. The power of each is such that neither can win, and it almost seems rigged from the start. “Step Through the Portal and Breathe” is one of the crown jewels of the album. Their signature legato leads provide a map through the tangled web of music, just enough the guide you. I would be remiss if I didn’t highlight the job Kevin Alexander does on the kit. He has an incredible sense of direction.

“A Parasitic Dream” is one of the shorter ones on the album, and it is packed full of dense material with equal parts devastation and reverence. “The Obsidian Architect” features some backing guitar work that is rich with chorus and melody. Although it is still in the same wheelhouse as other songs, it takes a nice diversion at times. The clean vocal harmonies are excellent once again. The title track closes the album, and it brings the best of what the band has to offer the fans…a seven-minute journey through stars and space and into the furthest reaches of the universe, and it also features their start and stop on a dime sense of timing.

The album a seamless fusion of intricate technical ability and rich, emotive melody. Every track is a testament to the band’s deep understanding of their instruments, not just as tools of performance, but as vessels of expression. It feels like the work of artists who have spent years honing their skills, not just to impress, but to communicate something real. It’s a record that bridges the gap between complexity and accessibility, offering something for both the musician dissecting its structure and the listener seeking connection.