Review Summary: Spring buds, new growth
It was at a Plini concert in Seattle that I first encountered Beyond the Woods. A group of four, presumably some progressive metal band from the area, walked onto the stage: no one that I recognized. Ignorance wasn’t bliss, I discovered, as I panicked upon realizing that I had not yet caught the band’s name.
What captivated me so quickly must have been that thread of palpable energy which snakes through the forests of
Roots, the debut release of Beyond the Woods. An underlying darkness exists, cast by the shadows of towering trees, but there is no denying that life flows in this ecosystem. The album has effectively grown itself from the ground up: it is an entirely self-produced effort, an impressive characteristic when considering the clean, sweeping expanses on which the action takes place. Beyond the Woods’ playing feels confident, self-assured, belying the fact that
Roots is only their first release; they conjure whirlwinds of riffs, paint the night skies with twinkling runs, weave through the trees with dancing rhythms and intricate, interlocking melodies.
Roots is driven headfirst by adventure. The majority of its compositions wander and traverse, seeking out opportunities to turn another way. Every individual section contains its curiosities and landmarks, though at times the leaps taken within a track are a bit too sudden and disjointed. It’s clear that
Roots is chock-full of excellent ideas; however, not every intersection is neatly paved. The urgency of “Clouddrift” is certainly a showcase of technicality, but it is also self-restrained to good effect; employing concise riffing alongside syncopation, it balances out intrepidness with a sense of direction that guides it on its path. “Clouddrift” serves as a model for what Beyond the Woods can do with more structuring - it’s a concentrated thrill that brings to the forefront the band’s ability to craft an exhilarating, wordless tale. Simplicity reigns too on “Misty”, which glimmers with measured, tranquil guitar lines. And in a similar vein, “Roots of Silence” also resonates. Sections of spare beauty are bridged by catchy transitions, and the bouncing centre of the piece begs for a mention. While it’s not as neatly arranged as “Clouddrift”, it speaks to the potency of strong stand-out motifs.
Beyond the Woods find themselves at a stylistic crossroad within progressive metal. They’re less light-hearted than the likes of Plini and Chon, and would probably acknowledge The Helix Nebula as closer kin, though
Roots is not quite as steeped in dissonance. Furthermore, it does seems to me that Beyond the Woods are still learning how to wield chaos. When considering that the most effective tracks of
Roots tend to be more reined in, I’m led to believe that the band haven’t yet found their footing in making things that can roam around without occasionally getting lost. But that’s not to say that Beyond the Woods should refrain from giving so much space - it would be a pity if all their material wasn’t aired out. What I notice from
Roots is that it isn’t a “flow-based” album, so to speak - its tracks are usually an amalgamation of several discrete, returning ideas, rather than a single one that is continuous and mutating. With this in mind, the distinction can blur. I think it ultimately boils down to the nature of the transitions within a track - some bands simply prefer to write more disjunct passages, others more seamless ones. The former style, in my opinion, necessitates stricter control over progression and organization. It’s not as suitable for lengthier, meandering compositions, though obviously it is far from impossible to make things work.
All ambition is encouraged for Beyond the Woods. The seeds have been sown with
Roots, and they need only continuing nourishment. Even in their early stages, the band have carved out a distinct impression, and to witness growth and vibrancy is a beautiful thing indeed.
