From Bandcamp, “Though the Progressive side of BEDSORE has been given much more room to stretch out, the Death Metal foundations remain present in the DNA. Vocally throughout the album, the agonized screams of Jacopo Gianmaria Pepe endure, and the manic dark death and blackened metal riffs now segue and merge into the whole more adeptly than ever before. This results in an album that, rather than feeling like two separate albums in one, embraces a coherence for both forms, to create a surreal, reality-bending immersion wholly their own.” The album has six songs.

“Minerva’s Obelisque” is first. The sound is tentative at first, but also quite dark. What comes forth is a blend of psychedelic, old school keyboards that have that organ tinge to them, and the firm bite of Progressive Metal. Then, like magic, much of the sonority fades away, and is replaced with a tense atmosphere. “Scars of Light” brings with it odes to OPETH and KANSAS for me. Warm melodies spring from the ground, but are stepped on by the heavy foot of harsh vocals and much weight from the instruments. The unlikely combination is akin to watching a monster and a child sit down to a cordial lunch date. “A Colossus, an Elephant, a Winged Horse; the Dragon Rendezvous” is a near 12-minute beast, and is as strange as the title sounds. It eases in slowly. Harsh tones follow the peaceful landscape, and there is trade-off from there, where anger rises like a coiled snake, and retreats as quickly.

“Realm of Eleuterillide” opens with a dissonant melody, and more of those 70’s keyboard sounds. Again, angry vocals catch the listener off guard, and the music hardens. There is a smoother sound from there, but tension hangs. Clouds roll in, along with wind, and a storm enters. You have to ride out the heavy winds and pounding rain. “Fanfare for a Heartfelt Love” has more old school keyboard sounds, and this time, the tension is as thick as concrete. Waiting for the other shoe to drop, you are instead delighted as the melody comes in like warm rays of sunshine on a cool spring morning. The progressive elements really show their skin in this song as well. “Fountain of Venus” closes the album, and there are grand elements in the beginning. A firm plate of ardent Metal accompanies your meal here, and offers bitterness along with savory bites.

This was an unusual album in many ways. The only real ode to Death Metal is in the vocals, and some harder elements in the music. The sound was wide open for me, and they made some very strong steps forward into the varied and sometimes odd world of Progressive Metal. I also enjoyed their dark brand of music immensely. This is definitely a band to keep an eye on.