USA progressive metal pioneers TRANSCENDENCE are set to make a triumphant return with their first album in 22 years, “Nothing Etched in Stone – Pt. I.” The story follows an artist who discovers his creative “stone” and pursues it relentlessly, drawing inspiration from “the edge” near his home. A devastating loss, linked to a global crisis orchestrated by rogue agencies, shatters his world, dimming his creativity and peace. Grappling with grief, he escapes to a foreign land, briefly reigniting his art but spiraling into addiction and obsession. Upon reflecting on his work, he foresees loneliness and returns home, questioning whether his dreams held him back while glimpsing a transcendent future.

“Discovery” is first. It mostly consists of dark and tense background notes until it forms in a song, segueing into “Take Control.” It features a fairly simple riff, augmented with keyboards, but sounds much closer to Power Metal than Progressive Metal to me, especially in the vocals and in that familiar gaunt in the drums. The entire song just isn’t thick enough. “Shades of Winter” has a little thicker of a sound from a crunchy guitar riff, and here some Progressive elements enter. The vocal harmonies are well done, and the song has a sentimental, longing quality to it. “Lost Solstice” is a darker, mid-tempo song that is again peppered with longing qualities. The thunderclaps contribute to the ominous feelings in the song.

“The Edge Awaits” has more dark and tense tones and is another mid-tempo song. My biggest complaint with this pacing is that too many of these on an album can weight it down and keep it from soaring, although the lead breaks help in that regard. “Voices in the Dark” has a little more power behind the guitar riff and thumping bass notes, and this song could be called bossy. But it’s another emotional, sentimental type of song, and I am waiting for that “balls-out” sound. The leads are fantastic here, however. “Lost…Dream” is a short instrumental that sets a dark and ominous tone for the final two. “In…Time” features petty and charming guitars and keyboards, with meaty bass notes underneath.

“Ruins…Before the Dawn” closes the album, and it’s the first real song with some hopeful tones, and the carry on throughout. Overall, this was a very well put together concept album. Each of the musicians are fantastic, and their level of technical prowess is noteworthy. However, too many of the songs had the same pacing, as well as that same feeling of longing. It kept the album from reaching the upper echelon of their peer group, but if they can work through those issues, this is a promising return.