Andromeda - The Immunity Zone

Are you looking for Sweden’s answer to Dream Theater? If yes "Andromeda" is the answer. They return with their fourth studio offering, The Immunity Zone, and first for "Nightmare Records". The band seems to be going for a slightly more straightforward and heavier sound here, though fear not progressive metal lovers, there’s still plenty of instrumental wizardry on listen to, the band just decided this time around not to beat you over the head with overall complexity, solos, and intricate arrangements.

Of course there are huge instrumental sections and extremely impressive compositions. One of the principal attributes of Andromeda’s is the ability to reveal new details with every subsequent listen. Perhaps it’s not as surprising as their wonderful debut Extension Of The Wish and not so melodic as the previous gemChimera, but The Immunity Zone still retains many of the positives that make this band’s creations such a tempting experience. This is the case when everything seems to be perfect, from the mellow deep baritone of their singer David Fremberg (Space Odyssey) to the unbelievably collaboration between guitarist Johan Reinholdz (Nonexist, Opus Atlantica, Skyfire) and keyboardist Martin Hedin.

These guys try to work their sound a bit different every time they show up with new material. They resort to neither cut and paste tricks nor hold on to the same formulas, enriching their compositions with many additions unheard before. For example, the vocals on “Ghosts Of Retinas” mesmerizes with its half-whispering back-up crew and multiple layers. Overall the songs mainly belong in the mid-tempo category yet frequently show lots of changes in rhythms and moods. The bass and drums not only do an excellent coordinating job but are allowed many fine improvisations as can be heard on typical opener "Recognizing Fate" or the 17-minute "Veil Of Illumination". 

We shall not forget Johan’s impressive guitars, which frequently leap from massive crunchy riffery to beautiful string decors, and to Martin’s keyboard’s insanity, which is more than apparent nearly on every track with its complex arrangements and short yet incredibly recognizable solos. The only piece that I don’t much care for is “Slaves Of The Plethora Season”, which, while offering a pretty catchy riff and scattering of tasty licks, somehow goes off the rails because of the typical “discotheque” sound of the keys completely dominating the chorus parts.

After all, please listen to the album. Thank you!