Riverside
Shrine of New Generation Slaves

After the incredible "Anno Domini High Definition," which pushed the band towards a more overtly heavy sound as well as being very synth-oriented and dedicated to experimentation, one wondered where Riverside would head next. They probably wouldn't return to the more atmospheric sound and Gilmour-esque solos of the first two albums. This is confirmed by the release of the excellent EP "Memories in My Head," whose title says it all; it seems to be a nod to the memories etched in the mind of those nostalgic fans of the old "Riversound," if we can call it that. And it is precisely to them that the three tracks contained in it are addressed — a gift to those fans eager to relive those dense atmospheres, as explained by the band itself. All the while, the band was preparing something different, something they claimed would be their best album ever made. It is unknown if the band achieved this goal, probably not, but I can still say that this "Shrine of New Generation Slave" is more than a valid album, and the reviews circulating around support my opinion.

Two things immediately stand out: the recourse to not overly complex songs and the exploration of sounds often influenced by the '70s, yet combined with more modern elements, as well as the almost total absence of typically metal elements that dominated more than ever in the previous album. It's not surprising, considering this practice is quite in vogue among prog-metal bands, as shown by recent works from bands like Opeth and Pain Of Salvation, but also from more prog-rock-oriented names like Steven Wilson. No less than three tracks draw heavily from '70s hard rock, with particular references to Deep Purple. The opener "New Generation Slave" starts off delicately but then builds with guitar and organ riffs, which are then joined by more modern electronic sounds before calming down towards the end. The angriest track is, however, the single "Celebrity Touch," also dominated by hard rock guitar and intense organ sounds, though it has a softer section that breaks the rhythm, presenting interesting electronic cues here as well. The most distinctive and atypical track, however, is "Feel Like Falling": a very catchy, almost commercial track with nearly funky accents; it rests on a very modern electronic riff over which hard rock riffs, organ pads, but also highly distinctive guitar riffs are played; almost a cross between Muse and Deep Purple, showcasing the band's skill in blending the old with the new. Seventies influences can also be spotted in "Escalator Shrine": particularly in the first part, which offers guitar riffs with almost jazz-blues echoes and keyboard sounds reminiscent of an old electric piano; a clear nod to Camel and the Canterbury Scene (Caravan above all), but the second half of the track is closer to the old Riverside, returning to more metal sounds and an instrumental section more aligned with their style, and towards the end even some orchestral arrangements. Instead, tracks like "Depth of Self-Delusion" and "We Got Used to Us" feature the typical delicacy of their style but with a once again very catchy approach, without the atmospheric keyboards and sprawling solos of the first two albums. The former is centered on very dark and relaxed guitar and bass riffs but also has rather particular keyboard sounds here and there, while the latter favors the piano. The track that is most markedly reminiscent of the old Riverside is undoubtedly "Deprived," with its beautiful dark guitar arpeggios and more prominent keyboard backgrounds this time but it adds even more, for example, some very peculiar keyboard sounds, a section that nods to electronics, and especially a splendid saxophone solo that masterfully closes the track. The brief concluding "Coda" is instead an acoustic reprise of "Feel Like Falling," pleasant but certainly not transcendental.

It's a shame that many of my friends didn't appreciate this work that much and have therefore almost completely excluded their attendance at the imminent Milan date, on October 2nd at the Factory. I, however, think that Riverside has produced a varied and never verbose album, that looks to the past as well as the future, confirming the band's desire to renew their style without affecting their trademark and offering interesting insights. For me, it's a yes!