BETO VAZQUEZ is a Power Metal sensation from Buenos Aires, Argentina, and the band is releasing its sixth studio album. Combining elements of traditional Metal, Power, Speed, Industrial, Doom and Gothic, their sound is experimental, the thematic choices are excellent, and their natural talent shines through with light, clear production.

"Man at War" opens with machine gun and battle ambiance which sets the tone of the song well. The theming in the ambient noises and the instrumentation is on-point, especially with the machine gun-like, frenzied guitar riff and steady but fast drumming. The vocalist's gravelly voice straddles the line between singing and growling. It works for this song, but it can be grating in any other circumstance.

The next song, "Breaking the Silence," is slower and eerier, but has a distinctive 1980s tone with the down-tuned, high-pitched guitars. The vocals are less grating than the first song, but still have a gravelly quality that fits the song. The guitar solo is also very 1980s, interspersing the melody with some traditional sweeps and long, whiny notes. Notably, there's a nice touch at the end with a bass line.

"Embrace Pain" is the first female-fronted song on the album. Departing from the strictly 1980s sounds of the last two songs, this number takes on a more Doom or Gothic Metal vibe. The melody line is plain, which highlights the excellent soprano/gravel harmonies between both vocalists. The guitar solo brings it back to the 1980s style with arpeggios sweeps.

"Evolution" hits with high-pitched, almost old-school, videogame-sounding guitars. Of the songs so far, this one is traditionally Symphonic Metal. Like the last song, the harmonies between the male and female vocals are great but done differently. Rather than soprano and gravel, the male is the lead with clearer vocals and the female backs him up with choir singing and harmonies. The solo really brings out the 1980s guitar playing and reminds me of an older videogame; again, it would be grating in any other song, but it fits here well.

"Hate" starts off with a low, aggressive melody. The vocals are completely growled here with the exception of female harmonies, which can become disjointed when they're alone. My one complaint about the song is that I wish it were more aggressive instrumentally throughout to really hit the theme home. The melodic, symphonic instrumental break seems a little out of place as well, even though it's well done. I would suggest including these heavier, melodic elements throughout the song to amplify the aggression in the song.

"Master of Fools" goes back to a symphonic tone, utilizing great piano technique before the vocals. The female singer is wonderful here; clear, operatic, and powerful. So far, this is my favorite song on the album; the intensity is on-point, the harmonies between vocalists and the instrumentals are uplifting and awe-inspiring. The intricate piano technique is like icing on the cake to this song.

"Stop" brings the album back to a Doom Metal sound and adds industrial elements with relentless drumming and a humming guitar. The vocals begin with repetitive vocals before, surprisingly, the female vocals have the lead here. There's some good reverberation at parts and I enjoy how the band can combine symphonic and industrial elements effortlessly here.

"The Letter" starts with some subtle ambiance before the piano kicks in. It's thematic for me, especially since as I'm writing this, there's a ton of snow outside and the tinkling of the piano gives the song a wintery effect. The guitar trudges through the song in the steady march, and the vocals pick up the slower, steadier melody. The song itself is more Gothic in tone and carries a morose quality in the vocals.

"Humanity" is their final, official track on the album, and it brings it back to the 1980s with high-pitched, down-tuned guitars but combines it with a dirge. When the vocals come in, there's a bite to the song that revs it up into a symphonic Speed Metal song. The echoing chorus is beautiful, and the staying power of the singer is apparent in the lack of overproduction of her voice; it sounds raw, without compression or reverb, which shows me she has natural talent.

The bonus track, "Sweet Northern Soul," starts with some ambiance with howling winds and a soft piano melody. The male vocals are as clear as I've heard them, and honestly, I wish he sang like this more on the album. While the gravelly characterization fits the songs thematically on some songs, when he sings without characterization, it shows he can sing! Their only "slow song," it shows wonderful technique, harmonies, and progressions that are consistent with the quality that is this album.

Overall, I love it. The experimental choices the band makes are thematic to the album, they combine styles in a way that each song is unique. The styles and sub-genres they put together are ones I've never heard together before, and it's great. The production, light, clear, no reverb, shows that the band has natural talent.