Daniel Bohn must be the biggest underdog of the year. No wonder he’s waited and released an album instead of an array of singles, because it rules. Colors of the Land is his latest endeavor sequencing the freshest of prog metal riffs, superior instrumentals, and a very impressive scream/growl. Do me a favor and slow clap while you listen to this leviathan creation.
Setting a scene with Subsidence, Bohn uses a synth to balance out the sound before the instruments come in hot. Designed to be a teaser, the instruments are sampled as you would hear them, preparing you to go berserk, if the neck permits.
TheKhan was released as a single by Bohn earlier this year, and remains one of the most popular tracks he’s made. For good reason that too, it has fast grooves, solid drums, and tempo changes as you would expect from a great prog metal track. A superior start for a debut album.
Void in the Mountain has a dynamite opening, with drums charging through time itself. From riff to riff we dance, before a surprisingly beautiful clean vocal graces our ears, out of the blue. A catchy beat written in a rare time signature makes it even more worth the chaos that will ensue.
Mellowing down from the intensity of the two previous tracks, Bohn shifts to a Trent Reznor approach to drop the tempo with artistic finesse. Distant Path is a wonderful track to listen to, placed very well in the album to ensure we strike a chord with the listeners. The strings and piano part in the end have been masterfully composed.
Starting with the milder intensity of a hard rock track, Arachnid’s Web is a playful switch between genres so to speak. The heavy chords bring you back to metal, while the drum beats switches to a hard rock format occasionally. Excellent growling work from Bohn. An intense track, well worth the 9 minutes of harnessed vigor. The midsection of the song hosts an instrumental that can be on loop forever for me.
Well settled into the longer format, Bohn now switches to the role of a narrator and filmmaker. The Lost Tundra is a lesson in that, with an addictive hook opening the song with some crushing double bass elevating the tracks tempo and killing those empty spots where the riffs might just echo. I mean, it’s just unbelievable to think about the tempo of the drums in the parts of mid chorus.
Prepare yourself for the opus. Infinite Forest is a composition of Opeth like mastery, start to finish. Without a doubt, you don’t even feel the time passing by. Beginning with a simple piano section, it paves way for the prog metal part of the song, which Bohn absolutely annihilates. A little after the 4-minute mark, it completely switches styles itself.
Delivering with smashing drums and distorted guitar, we move into the instrumental extravaganza. The double bass enters soon enough, obliterating any sense of peace. The song has everything, and I’ve only written about the first 7. After which it is a whole new level. Like the forest, what goes around, comes around.
With Machine Head like precision, Bohn goes back to that prog metal energy you missed for a moment. Once again, great balance in track order-shows true maturity in composition looking at the macro. Look out for the explosive double bass once again, till at the late 4-minute mark a wave of emotion and inspiration hits. All synth, no distortion showcases the scales laid out with content on either side. Closed with a verse of panache.
Boundless Realms. The closer, but with the intensity of the opener. The song is an ultimate ode to the parts of the entire album, and the people who inspired Daniel Bohn. The album is a benchmark for debut prog albums, especially indie artists.