|Release Date||20 March 2020|
German prog veterans Ivanhoe have returned with another prog piece that hearkens back to the classic prog of the late 80s/early 90s. Blood and Gold is the band’s eighth full-length release in their thirty-five year career, but it holds true as one of their most essential releases ever. This compact, groove-driven style of prog will especially be a hit for fans of golden-age Queensryche and Fates Warning.
Blood and Gold does a lot of things right. First and foremost, the runtime is short and sweet (and the songs are all around the four-minute range); there’s no fat around the edges, it’s just no-bullshit prog with experimental, time-changey grooves and sick facemelters in a manageable space. As such, it’s perfect for prog fans who don’t have the attention span to be serious prog fans. Next in line are the drums, which are absolutely killer from the very first song, courtesy of the band’s brand new drummer, Bernd Heining. His fills are great and his beats are many, which is the crucial element in keeping the more laid-back tunes interesting (which is like two thirds of the album). It’s also worth mentioning that the mixing is perfect for an album like this. The guitars and drums sound closer to traditional metal than the colossal, crisp onslaught that most modern prog delivers. Don’t get me wrong, I live for clean and disgustingly heavy, but the softer, more lo-fi production quality has its place, too.
Outside of just comparing it to “early 90s prog”, the overall sound of the album is pretty melancholic, putting a greater emphasis on emotional hooks and guitar countermelodies than explosive riffs. There’s a serious level of technicality, though, most evident in the songs ‘Solace’ and ‘Perfect Tragedy’ (both of which are my favourite tracks), where the time changes are many and the rhythm section is on fucking point.
Between strong songwriting, great musicianship, and that classic feel, Blood and Gold is definitely worth checking out. Also, make sure to keep your ears open, because there’re a ton of little details in the album which I didn’t even touch on (like a sax solo in ‘Shadow Play’).
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