Progressive metallers JACK THE JOKER are thrilled to announce that they will release their debut album "The Devil to Pay in the Backlands" on August 22, 2025, via Frontiers Music Srl. They are a modern progressive metal band with a twist, hailing from the Northeast of Brazil. What sets them apart is their ability to incorporate traditional cultural influences from their homeland, infusing elements of maracatu, forró, baião, and frevo into their sound. Their music draws inspiration from the iconic Brazilian novel of the same name, navigating the metaphysical backlands where human will clash with the raw forces of nature. Their instrumental approach mirrors this thematic landscape, using regional rhythms as a foundation for dense, complex arrangements and layered compositions that fuse tradition with the intensity of progressive metal.

"Devir" is first, and the opening riff is weighted, heavy, and thick with the crunch of the guitar tone. Meaty bass notes provide an even heavier bottom end, but the vocals are as smooth as butter. The technical side of the band is very evident, but they don't let their prowess overtake the melody and harmonies. "Between the Ski Lines" is another song with equal parts weight and melody, and if either tipped the scales in one direction, it wouldn't be as glorious as it is. Raphael has one of the best voices I have heard in a while, and the remainder of the band is just as talented. "XV" is nearly nine minutes in length. It begins with heavy accents and structures, and some Djent tones in the riffs. The complex early rhythms are hit with everything they have. The vocals are playful at first, then dangerous after they draw you in. The length of the song gives the band plenty of time to explore different tangents and sounds, and they take every advantage of that.

"Sun" has very heavy tones out of the gate. The crunch of the guitars combines with weighted bass, drum, and keyboard work, and again, the vocals are just so smooth. They push a lot of emotion in this song, especially in the chorus, and Gustavo is a wizard on the bass. "You (Where I Belong)" has a distinctive groove to it, and the band has a lot of fun with this one. The vocals have a snarl at times but are very playful at others. Once again, the bass notes are one of the best parts of the song, and the lead breaks are fantastic. I don't know who the guest vocalist is either, but man, she is outstanding. "Thousand Witnesses" is a rich display of the band's technical prowess, and I haven't heard something this good until the advent of DREAM THEATER decades ago. They hit every note, every passage, and every transition with deadly accuracy.

"Cabaret" is where some of the Brazilian culture comes into the music, and the song is equal parts fun, technical, and melodic. "Saudade" is the gentle and melancholy offering on the album that almost seems obligatory, to break up some of the fiery energy that the album is steeped in. It's sweet, emotional, and poignant. The lengthy "Hope" closes the album, and if you though they were on par before, listen to this. They take you on a ride full of melody, and vivid colors, stretching as far as you can see, into areas that no one has ever set foot in before. It is smooth, wistful, and as pleasing as anything else I have heard this year. I haven't heard an album as rich as this in a while, and one of the best parts of the album is that I can't decide what I like better…the massive voice of Raphael, the sheer prowess of guitarist Felipe, the bass wizardry of Gustavo, or the pinpoint accuracy of drummer Vicenete. The fact is, they are work together in nearly perfect synergy, and the album, while a masterful feat of technicality, is just so damn fun to listen to.