US Progressive Metal band EXIST make their return this spring with their fourth album, “Hijacking the Zeitgeist,” set for release via Prosthetic Records on April 12. EXIST’s latest full-length sees the group expand upon their established dichotomy of extreme metal technicality and sanguine atmospherics with an intentionally more concise approach to songwriting, resulting in the most direct and emphatic album of their 14 year career. At the core of “Hijacking the Zeitgeist” lies a multifaceted exploration of algorithmic rabbit holes, conspiratorial paranoia, and the universal traits that lie within humanity. EXIST treats both the allure and perils of both digital mazes and the real world, with equal parts wide eyed awe and horror. The album has seven songs.

“Blue Light Infinite” is first. The song has very tight structures, as well as a plethora of meter shifts, and the band’s talent is obvious from the first few notes. But just when you think you are in for a tech fest, warm melodies wash over. “Thief of Joy” opens with a bit more melody, but those brutal structures still rule the roost. The band is able to smartly interweave some of the melodies into the saturated architecture, but when the melody steps forward, it isn’t always as strong. The title track is another exercise in exploration and technical prowess. If this album is more concise, I can’t imagine how their earlier work was composed. Shout out to the bassist, however, who is as solid as a marble statue at his offerings to the album.

“Funeral Toll” might be the most concise on the album, as they let the melodies ride for a while. The hardened elements are still as strong as ever, and at times, the melody fights with the technical side of the band. “A Path to Nowhere” burns deeper and travels quickly to the outer edges of the universe. The lead guitar work is fantastic here, and they continue to push punishment at every turn. “One Degree Removed from Human” is contentious out of the gates, but the ethereal vocals keep it from turning into a total monster. The mask is on however, and it looks the part. “Window to the All” closes the album. It’s another mashup of technicality with melodies. At times, it seems as though the chaos is hanging by a string that the band can reel back up with ease.

No one can deny the band’s talent, that much I know for sure, but their technical prowess does overshadow some of the melody development. They take their music in all different directions, even to places you wouldn’t expect, and that is the mark of Progressive Metal. They are as tight as they come, but some might argue that they flirt with pretentiousness, as well as that proverbial zenith that isn’t usually reached.