From their EPK, “ASCENT is a progressive rock/metal band from Madrid, founded in 2014. Initially, they focused on covering songs from progressive rock bands of all eras, but they soon began to shift towards their own compositions. Throughout 2023, the band focused on the composition and recording of their third work, which would finally be released in 2024, “Gamma,” which reflects a new leap in quality of the band in all aspects with songs of very varied themes and orientations ranging from uncompromising progressive metal to lyrical passages, even including songs of a more pop conception and very innovative arrangements.”

The album has 12 songs, and “Gamma Community” is first; a short intro leading to “Kamikaze.” The music is a bit thin, and the vocals are dark and lamenting. Some of the programming effects are odd as well. “Master of Nothing” has a heavy, electronic opening, and a catchy beat, filled with sturdy bass notes. When the music is this thin however, it exposes the vocalist. It eventually thickens up, and the band shows their strong musicianship. “Hades” has a darker sound, as the title suggests, and the piano work supports the subtle shifts in the rhythms. The album is getting stronger now as whole.

 “Nightmare in a Spanish Garden” is the first song that opens with major chords and a warmer feeling, despite the title. But, it ducks into the shadows, and features audible bass notes and clean guitars. “Party” is another that begins with weighted electronic and equally heavy riffs, and the bass helps to fill in what is missing. It also has a catchy beat along with a familiar 80’s throwback sound. I rather enjoy this song. “Science” keeps the album moving forward. It has a jovial cadence, some strong musicianship, and vocal harmonies. Everything seems to be coming together at this point. “Heartbreaker” has a funky and catchy beat that is easy on the listener’s ears.  “Nomad” begins with thick bass guitar notes and some subtle shifting of the meter, and it’s obvious that the band knows their way around their instruments, and the extended section without vocals further proves this point.

 “Calophine” is the soft and fragile number on the album, and it is quite pretty, featuring backing vocals, gentle guitars and piano, and expressive vocals. “The Worm” begins with dark tones and an ominous feeling that slowly creeps up inside you. The palate from there continues to be dark and also features some backing symphonic notes. The keyboard solo is excellent as well. Overall, the album survived a bit of a lackluster opener, and as it rolled forward, its many nuances came out of its shell. The best part of the album for me was their strong musicianship, and I found myself intrigued with it. I am looking forward to what the band can do next, because they have the necessary foundations.