From their record label’s website, “Already having gained world-wide popularity as the bassist of Prog legends OPETH, Martin Mendez now returns with another virtuous death metal crusher that vividly captures the fear, loss of control and despair of pandemic times in nine new tracks. His project WHITE STONES goes further down the path of progressive extreme metal with haunting growls, jazz induced intermezzi and an incredible level of technical perfection.”

The title track is the first cut, and there is a long lead-in with a dark mood that builds. As with OPETH, the main sound that settles in comes from what seems like nowhere…it’s both surprising and experimental. Seguing into “Humanoides,” the sounds shifts to a more brooding and dangerous offering, and the main riff has a dark groove to it. Although there are similarities to OPETH’s music, this is their own product, and the harsh vocals roar with an intensity that burns. “D-Generación” presents the third song on the album with a different sound to it. This song moves with a groove and even some catchy elements. It keeps shifting however, to keep the listener on their toes.

“Zamba de Orun” has much softer and more delicate entrance, and just let it ride, it feels like a warm spring breeze on a cool morning. Again, it quickly shifts to uncharted territory, with some angry flute notes. “La Ira” is also an oddly structured sound, and it appears that the band is playing with a different deck of cards. But just when you think this will stay in the odd category, lush, funky bass notes and a lively groove take over. If nothing else, each song is totally a surprise so far. “Somos” is a short little number of mostly bass notes that bring a bit of levity to the album. “Grito al Silencio” presents another catchy but strange sound. It takes a dive into the deep end of the pool with harsh vocals and some animated bass guitar notes, but he comes back for air.

“Vencedores Vencidos” is a more straightforward song with an easy to follow melody line, though it is a bit somber. The short “Yemayá” closes the album with another smooth and sober melody. There is no doubt that this is a unique album, even in considering the annals of Progressive music. Some critics might even argue that it suffers from a lack of cohesion, but I think the diversity of the album is its greatest strength.