subsignal
La Muerta

May 25, 2018, Chapter II. The leading group of melodic prog, Subsignal, makes us wait several more months this time, but returns with an album worthy of its name. The title is Spanish-tinged and also quite unsettling, but it is not the prelude to something dark and gloomy; it seems the Spanish-tinged titles appeal greatly to the German combo, see the title of the third album or the last track of the second, and perhaps also some sonorities that revolve around that idiom, think of the frequent flamenco-like incursions here and there, though here practically nonexistent. A somewhat risky choice in the years of the domination of Latin trash in international charts, the risk of arousing perplexity or strange associations to such trash is not so abstract...

Fifth album for Subsignal, “La Muerta” is more than anything a confirmation, the one we perhaps expected, even though by the fifth album a change of course is always slightly appreciated. What stands out is probably a greater reliance on very catchy structures, although this was already apparent in “Paraiso.” And thanks to the new keyboardist Markus Maichel, there is a bit more daring use of keyboards compared to the two previous albums, but perhaps not to the levels of the first two, some interesting touches but also several inserts with the mellotron sound giving some small vintage references, all inserted however in the modern context. Almost completely eroded are the metal influences, with the only heavy inserts practically limited to the title-track alone, however, this does not mean that the guitar work remains a bit edgy, with incisive sounds despite the melodic magnificence.

Subsignal’s approach has always had a melodic power at the limit of pop, but here several tracks seem to accentuate this trend. Particularly illustrative in this sense are, for example, “The Bells of Lyonesse,” with its brilliant and sunny refrain, but also the more restrained “When All the Trains Are Sleeping.” But particularly significant is “Even Though the Stars Don’t Shine,” introduced by a crystalline and cheerful synth, characterized by clean and lively guitar riffs and a pressing rhythm, with a terribly summery mood, almost beach or convertible-like; if I had to name a summer hit, it would be this one, a decent summer track! And then there is “As Birds on Pinions Free,” potentially most at risk of being labeled as filler, but which instead in my opinion stands out for better melody management; it is precisely here that Markus Steffen’s guitar excels melodically, and the idea of changing key in virtually every section proves extremely effective, with the chorus never being performed in the same key; I could describe it as a little melodic gem.

But let's move on to talk about the more explicitly prog tracks. Among these stands out the over 7-minute “The Passage,” between synth passages, piano sections, solos, accelerations, drum rolls, and more linear moments. “Every Able Hand” is brief but incredibly dynamic, which in a few minutes manages to well alternate brilliant synth phrases, playful marches, melodic openings, and instrumental flourishes of a certain level. In the verses of the title track, instead, we find metal remnants immersed in massive electronic loops. “The Approaches” acts as a middle ground between the composed and melodic song and neo-prog thanks to the central instrumental passages.

Also worth mentioning are the short instrumental interludes, the intro “271 Days” with its intelligently concentrated instrumental passages in just one minute, and the short and relaxing acoustic interlude “Teardrops Will Dry in Source of Origin.” Relaxing and reflective is also the concluding “Some Kind of Drowning,” led by a gentle piano and sung in duet with singer Marjana Semkina of the Russian duo Iamthemorning (a group I chastise myself for having listened to only once in passing).

In essence, I reiterate what I said before: a confirmation, as always in great style, a guarantee even if perhaps a long-term guarantee can tire, but always a guarantee nonetheless.