From their PR Firm’s website, “REVERYA is a Tampa-based progressive metal trio conjuring cinematic heaviness with a deeply introspective core. Formed in 2022, the band consists of Nadine (vocals/keys), Travis (guitars), and Kaleb (drums)—a powerhouse lineup blending atmospheric textures, groove-heavy riffs, and emotionally charged vocals to deliver a genre-bending experience. Drawing sonic inspiration from SPIRITBOX, JINJER, PERIPHERY, INVENT ANIMATE, and EVANESCENCE, REVERYA has carved a distinct space for themselves through a fusion of modern metal with ethereal soundscapes and haunting melodies. Their lyrics dive into surreal dream states, the complexities of emotion, and the connection between nature and the human psyche.”

The album has eight songs, and “Allium” is first, and it’s a short, sweet acoustical introduction to the album. The tones are both introspective and solemn at times. “Wisteria” begins with distorted guitars and ethereal vocals. Thick bass notes join in, followed by weighted guitars, and there is an air of mystery to the song. The vocal harmonies are subtle but work very well with the opaque sound. The harsh vocals at the end bite hard. “Pyrophyte” are plants which have adapted to tolerate fire. It comes out of the gate with heavy, Djent guitar rhythms that are dissonant at times, and raging harsh vocals. The intensity continues until there are some wonderful moments of melody that rush in briskly. “Forget Me Not” features the coy clean vocals of Nadine, along with backing piano. A heavy riff enters, but the haunting melodies remain. The chorus is catchy, and their route through the song is pretty straightforward.

“Dahlia” has smoky, ethereal vocal harmonies that add more mystery to the album, but the harsh vocals reverberate in the back of your head a punch. The music, is just complex enough to let you know that this is Progressive Metal, but they don’t overdo it as some bands do. Like the pastel flowers on the cover, “Lily” is simple in scope, but very pretty. Unassuming is what comes to mind, and the band is very good about not revealing all of their secrets. “Asphodel” was a section of the ancient Greek underworld where ordinary souls lived after death. The song combines both the vigor and strength of hardened, Djent passages with the beauty of clean vocal harmonies. “Magnolia” closes the album, and it’s another charmer, although somber in scope.

The album feels like stepping through a forgotten portal — the familiar fading behind you, the unknown pulling you deeper in. The compositions are cloaked in a thick atmosphere of mystery, weaving together shimmering guitar lines, ghostly synths, and vocals that feel more like whispered secrets than declarations. Rather than chasing immediacy, the album thrives in lingering spaces, where haunting textures unfurl slowly, almost imperceptibly, until you're completely wrapped in their spell.  It's an album that rewards surrender; it asks you not to listen passively but to lose yourself completely in its shadowy labyrinth.