Someone asked me recently if there are any genres of Rock or Metal left un-explored. It's an interesting question, and gave me pause to ponder. But the answer is "yes, of course." Especially when you are talking about the genre of Progressive music. A lot of band lately have claimed that they are unfettered by genre limitations. I have found this to be true for some and not so true for others. But when it comes to multinational SUBTERRANEAN MASQUERADE, you better believe it. Formed in 1997, with members hailing from the United States, Israel and Norway, the band presents their fourth full-length album here titled "Vagabond," which contains nine tracks. They have some very favorable reviews of past releases on Encyclopaedia Metallum, so I am excited to dive into this new release.

"Place for Fairytales" opens auspiciously, with bright guitar notes, hand clapping, and, correct me if I am wrong, the strings of a sitar? The plate of Progressive Rock that if offered next is truly a diverse and fine palate of a meal. There is a lot of ambiance; sometimes a little dark but mostly in the realm of light. The saxophone at the end is just another piece of variegate that keeps this interesting to listen to. "Nomad" is a bit hastier and with those keyboards that have that strong vibrato you would have come to hear in 70's Prog Music. The harsh vocals are completely out of nowhere, grabbing you like a stiff breeze that nearly bowls you over. They work very well however in a way that is hard to describe. The bass and flute duo are also an intriguing touch. "Ways" has an opening riff that reminds me of the mighty RUSH, a catchy sound that is lush and graceful. Always in for more surprises, we have an accordion, bass sax and another instrument that I can't quite place, followed by Death vocals so gruesome you would swear The Dark Lord is among you.

Then comes a short two-minute interlude, "Carousal." At first, it swirls with the sounds of an open marketplace in the Middle East. Cello and piano then turn inward with an emotional display that is tender and forgiving. "Kippur" hears that sound continue in the beginning, but again the Death vocals rattle your soul. It really is a fascinating and unconventional combination. A noble instrumental passage occupies several bars towards the end of the song, which ends on a positive note. I wasn't quite sure what to make of "Daled Bavos." It appears to have some historical context. From Wikipedia, the "Daled Bavos" translates as "The Niggun of Four Stanzas", which is of a slower tempo and in a minor key, characteristic of meditative "dveikus niggunim." Intended to lift the singer and the listener to each of the four spiritual worlds of Asiyah, Yetzirah, Beriah and Atzilus, and in fact, the four sections of the niggun correspond to these four worlds. It holds a special place among Chabad niggunim, and is only sung at special occasions." I am not sure if the track bears any resemblance to its historical roots, but it is a very rich and textured instrumental.

"As You Are" is a brief three-minute song with more of the Middle Eastern sound rearing up again. The accordion and other instruments make for an eclectic sound that is indeed genre bending, as the band purports. Sometimes jovial and other times a bit oversweet; it borders on disingenuous or at the very least "cheesy" which isn't a word I like to use. "Hymn of the Vagabond" is the long song on the album, at about seven-and-a-half minutes. In contrast to its predecessor, this track is weighted and threatening at times. The use of a lot of minor chords also keeps it pretty dark sounding overall. But as with other tracks there is always a constant of harmony and melody there. The clean female vocals add another bit of trippy uniqueness. "Space Oddity" closes the album; a remake of the David Bowie classic. It's the perfect cap to the oddity of the album, as Bowie's music was really all over the spectrum.

I've heard really quite a bit of music that was so peculiar and unorthodox that it was completely and solely the possession of the craft of the artists, and this is an album in that vein for sure. Fortunately, it has enough melody and complexity for Progressive music fans, who tend to be very open-minded when it comes to pushing limits. It is in this niche that I believe it will find its way to those fans. How it will appeal to a broader audience I am unsure, though if you are tired of listening to the same music you have been and are ready for something off the path, you could find solace in this Pandora's Box whose vibrant colors are something out of the world of "Alice in Wonderland."