UNTIL RAIN is a Greek Progressive Metal band that have just released their fourth full length album, "Season V." To call the band "Metal" at this point in their career might be a misnomer, as they are far more Prog-oriented than Metal. The use of distorted guitar and the occasional fry scream only serve to texture what might be termed closer to moody Art Rock. Indeed, it feels as though one might enjoy this record best with a glass of wine and a faint smell of jasmine. That's not to say there aren't Metal bands that have tread in this territory to often great results, bands like PAIN OF SALVATION, GREEN CARNATION or any Steven Wilson project.

The production does well to create a lovely and cohesive atmosphere throughout the album, one of air and water. Swathes of reverb and an underwater sounding tremolo guitar effect help set this cinematic mise en scène. "Inner Season" starts with an acoustic piano that feels like it's being played on an outdoor terrace, with a slight waft of synth electronics in the background for detail. Singer Cons Marg absolutely shines and is well at home being sultry, with an affecting voice that Arjen Lucassen has utilized before on various recordings. The combination of try-hard emotive vocals over crunchy distorted riffs also reminds of bassist Linus Abrahamson's other project ANDROMEDA, a band that I have a distinct fondness forever since I heard "Extension of the Wish." There are moments of full on Death Metal howls, like on "Qualia," the default heaviest song of the set. Overall, though, anyone looking for SYMPHONY X Power Prog will do best to look at their first couple of releases. Any heaviness here is in the service of mood-creation.

They weave in female vocals to nice effect, like on the single "Patti," and even more so on the lively "Miracle". There are some great solos from guitarist Theodore Amaxopoulos in the vein of David Gilmour, like on the pondering "Restart." "Running" contains a Moog-y synth solo from Lef Germenlis that makes the song re-playable. There's plenty of acoustic piano throughout and various other atmospheric Easter eggs. By the female-fronted "The Long Break," the relentlessly moody and downtempo pace starts to grow tired. Thankfully album-highlight "Ascending" adds a bit of energy, including a dose of much needed low end from Abrahamson. "Time Escape" closes the album out, with more shades of metal in the form of some start-stop djent style riffs and an interesting time signature or two.

Overall, the impeccable production starts to feel inorganic and processed by the end, and what should be an emotional concept album doesn't feel much of either. The story has no beginning, middle or end to speak of, but there's pockets of energy and enough ear candy here and there to keep you satiated, if only momentarily.<