Daniel Bohn calls to the metal gods with his latest album, “Emotions of the Sky”
Daniel Bohn can change how prog-metal is perceived, with his crimson red PRS. For far too long, musicians suppose prog metal to be an open-ended puzzle that can go anywhere. Opeth, Katatonia, and even Porcupine Tree to some degree have altered that perception. With his latest album, Daniel Bohn writes his ultimate work with experiences unlike any other indie prog-metal work I have heard. This is called Emotions of the Sky.
The buzz was felt when I heard the hard hitting single Kujira itself. A tip of the hat to Gojira, the riffs and melodic transitions exploded into frame, while subtly Seran wrapping the effect itself for a powerful, sustaining image. Opening the album with The Red Blight, Daniel Bohn wants to help you dive into a cinematic experience. A digital, electronic soundscape engulfs you, much to your surprise. Haunting vocals wrap around you-the lyrics cascading around the Matrix like beat theory. As we flow back into the serene instrumental, a flick of the switch brings you back to metal. The epic track is some of Daniel’s best melodies put together-encapsulating all the genres he loves.
Daniel Bohn rewrites metal
Divinity is another electronic sonic excursion, the drum groove creating a play of rhythm. While you’re lost in it, you’ll now expect the metal to come any time, but not when Daniel Bohn plans it. The guitars heavy strums with the phasing electronic pattern leads to a cool, unique effect. Scream heavy vocals with angelic choir sounds in the background change the temperature of the album itself. Daniel stretches the compositions into many directions, from the likes of Alcest to Gojira and Opeth. The resonating instrumentals in Alone are a sign of this, flowing arrangements that sustain for minutes together. Blistering drum work along with some immaculate fry screams create the depth and despair a song like this needs.
The dissonance of Silver Winds is a liquid dream, creating surreal physicalities with words. Being almost 9 minutes long, the instrumentals loop in your mind-the silver material almost being felt and heard. Harmonics play with the vocals, the wavering winds being felt throughout the song. Oizys has the mass and gravity of a dark song. Just with the transitions and floating instrumentals, Daniel Bohn shines light on the kind of song that he has never written in terms of detail. While you’re soaked into the vocals and the guitar, there is something larger that is summoning itself in the background. The quick switch to the metal massacre is to behold, while the rhythms are kept to detail and stylistically progressive.
The dissection of a genre
Disdained Gods opens with a double bass barrage, almost a thrash genre flashback. It is one of the quickest and heaviest songs on the album. Superb solos and melody lines bring in the flavour you’d want to hear. As you approach Putrefaction, you’ll behold what Daniel Bohn has created with a changed perspective. Approaching the songs’ scene by scene, he has made a masterpiece worth revisiting. From the layers to the writing of the songs-he has come light years from his debut album to create a monolith of music.