Is Australia THE hot-bed for Progressive Music? These days that statement is hard to argue with. Some of the bigger names out there leading the scene include NE OBLIVISCARIS, HEMINA, CHAOS DIVINE, ANUBIS, KARNIVOOL, CALIGULA'S HORSE, VOYAGER, and many others. So where does Brisbane, Australia's THE STRANGER fit into this scene? Formed in 2013, under the leadership of guitarist Austin and drummer O'Brien, they had the direction of developing music that has do boundaries. They've been defined as Progressive Rock/Metal, but with a lot of other sub-genres of music in the mix as well. This self-titled album is the band's debut, and contains ten tracks. Let's get to the music!

"Quantum Entanglement" is the opening track. Toms and acoustic guitars open the song, leading to a heavier sound. The vocals hum with vibratro, sometimes solitary and other times with dual harmonies. It has a sound rooted in some of the great Prog bands of the past for me. The mid-section moves with a rhythm accentuated with staccato guitar chords. The overall arrangement is quite grandiose, with layers of melody and a sophisticated sense of musicianship. "The Whip" is a shorter an quicker track, with some smoking riffs and lead parts, and our first listen of some Death vocals during a heavy bass and drum sort of breakdown. "Song For Dad" must have some deep personal meaning, a tale told with harmonized vocals that exude emotion from vocals that are oddly stalwart at times. It's an intriguing juxtaposition that makes for an enhanced listening experience for me. I think the lyric line "I wander distant trails...hope to draw you near...but still you're silent once the smoke burns out...you're left with silence much easier to comprehend and just ignore" is a strong summary of the theme. It's an intriguing juxtaposition that makes for an enhanced listening experience for me.

"Patterns" is a brief acoustic and piano laden interlude that just exudes all that is both beautiful and sorrowful in the world, embodying both equally. Sometimes much can be said with just a little. "Solomon's Son" has a nasty and dirty riff that hit you with a groove you cannot ignore. It moves forward skillfully and with purpose, and throws in some light Djent moments with Death vocals. An ominous and looming feeling comes along with the song title. According to the Christian bible, Solomon, son of King David, had some 700 wives and 300 concubines, so he must have by extension had many a son! "Just The Goods" is a favorite of mine. Glittering lead guitar expands above a heavy bottom end, and vocals that carry in the wind as both whispers and exalted shouts make for a pleasurable listen. The time passes so nicely that you hardly notice it is nearly nine minutes in length. You hear a musical maturity that is presented with something tactile that you can feel and touch.

"Masquerade" is that sweet song I was hoping to get on this album. The bass guitar provides a noticeable presence in the overall sound, as the acoustic guitar and vocals softly samba overtop, drenching you in a cascade of melodies that stir your sense of the sublime. I have to say the album maintains an energy as it pushes forward that absolutely holds your attention. "Divine Intervention" is expeditious but not careless, thudding with chords that strike out at you like a coiled snake, while the vocals are regal in their delivery, creating a wide and vast sound that you can just get lost in. There is a captivating darkness to the sound at times, like the moment before you open a tomb buried in time for 2000 years. "Storm" is a comely little song with poignant brief lyrics that aptly describe the title and sound. It goes, "I can see the thunder far in the distance, though it's source eludes me still...when I see the lightning, I'll calm my resistance, and bend it to my will...always when the rain sweeps swiftly towards me, I will welcome its release...only when it passes do I remember, that it doesn't being me peace."

"In The Mire" is the eleven-minute closer. Several themes combine here to send you a song that sparkles with melodies and "mires" in a dark mystery, like what lies beneath the surface of the muddy waters that the title points to. "Won't you let your blackened hatred wash away with the tide" is an emotional plea that is resolved with the final lines that read "I'm glad we never lost what we were fighting for, and you'll find it someday...one lie under the breath and I can keep you safe...the best we can do I return to the mire." The instrumental crescendo that follows is enough to crush you with its sentimental weight, as it fades out. This album is more like a journey. Though not touted as a concept album, many familiar themes permeate the music. Together they create a landscape that is rich in character, deep in thought and emotion, and vast in diversity. Should you make a place for THE STRANGER in the Aussie Progressive music scene? Absolutely! Immerse yourself in this modulating sea of adventure.