Negoba A Very Uneven Endeavor with a Few Bright Spots Riverside has been creating a unique take on progressive metal for over 20 years now based in part on Mariusz Duda's amazing voice and heavy use of Floyd-ian atmospherics. ID.Entity still has these elements, and some very solid riffage. But the band has also decided to slide in the pop / 80's direction to mixed effect. Though I don't usually review song by song, this album almost demands it as there is so much variation in approach and quality.

1. Friend or Foe - maybe it was Stranger Things. Pulling in early 80's keys is trendy and Riverside goes full in on the opening track and promo single. The song reminds a bit of the similarly intention retro 80's synthpop of the Weeknd's 2019 hit "Blinding Lights." Luckily, I think the move works here. It's a great melodic hard rock song. Hard to call it prog, besides the fact that it's (too) long.

2. Landmine Blast - my favorite song on the album. The band takes a great riff (yes a throwback to their own previous work) and trades it through different instruments and permutations almost like a classical piece. Some of the guitar solos also intentionally point back to early work (even though it's not the same player).

3. Big Tech Brother - after a clumsy, dumb spoken word intro, we get another very strong song. It opens with a great riff in odd time that almost has an R&B feel (a horn like keyboard patch is used and I can definitely hear a Tower of Power horn section taking it on). Duda uses a staccato delivery in the verses a la Haken to great effect. It has a strong aggressive rhythm, and plenty of layering. So far so good.

4. Post-Truth - here things start to slow. The lyrics, meant to be political criticism, start to sound obvious and whiney. The songs itself it pretty straight forward. Nothing wrong here but no surprises.

5. The Place Where I Belong - and we go off the rails. This epic length song has almost nothing progressive, or even interesting. The first half is quite boring. The second half is PF/PT moody and does carry some emotion, but there is absolutely no excuse for a song of this kind to be this long. There just isn't enough happening, too repetitive.

6. I'm Done with You - another relatively straightfoward rock song with bad lyrics. The main riff and intertwining parts are pretty driving and form a good groove, but the verses are boring and the chorus is bad. The "Fire Away!" section is pretty cool. The instrumental breaks toward the end are good. But like the album as a whole, really uneven.

7. Self Aware - starts with a riff straight out of the 80's that Ghost has already used with more menace and I consider them a tongue-in-cheek parody / novelty act. Not as tightly constructed as Friend or Foe, but seems to have a similar intention or inspiration. Harmless.

Perhaps that word is the best description of the album. Harmless. The first time I listened to this album I actively disliked it, probably because the last 3 tracks are the weakest. But on repeat listens, I can appreciate it. It has it spots. But overall - harmless. Not compelling. Mostly solid. A little better than meh. Not sure I would ever put this on just for enjoyment (I listen to alot just to see what's new in the world) when there is so much better music out there (even from Riverside). I may steal track 2 for a 2023 prog playlist. That's about it.

Good but really non-essential

Kingcrimsonprog January 2023 saw the magnificent Polish Progressive Rock band Riverside release their eight full-length studio album on InsideOut records, ID Entity. It is their second album since the passing of late guitarist Piotr Grudziński and first with Maciej Meller as an official band member.

Sonically, the album is a delight. The production is superb. Crystal clear, brilliantly balanced, perfectly recorded.

Lyrically, the album seems to either be a concept album or at least heavily themed about modern society in the age of questionable truth in the media, social media enraging the public, and a divided society. The lyrics are very blunt, direct and barbed compared to most previous Riverside albums (not to dissimilar to Pain Of Salvation’s Scarsick album). They could come across as a too bit on the nose if you just read the lyrics, but when you hear it with the vocal delivery and over the excellent music it seems almost profound (eg. “unsubscribe the ones who make us hostile” doesn’t seem particularly epic when written down here, but the part of that song when this lyric gets repeated is absolutely massive!).

Stylistically, the album is varied. There are moments that remind me of the more note dense 70’s prog influenced parts of the previous album Wasteland, mixed with the more ‘80s influenced parts of Love Fear And The Time Machine but it is also in many ways unlike any of the band’s previous material most of the time.

Therein lies the charm. Riverside are the most consistent band in music, and yet never make the same album twice. Constant evolution and change, but unshakable quality-control. A few days ago I tried to make a “Riverside Albums Ranked” list, and I really couldn’t do it, all albums were equal, all joined first… and I don’t mean that hyperbolically. I mean that stone cold literally. In terms of full-length studio albums at least, the band have a perfect discography to date, including this new record).

I usually make a list of standout songs in my reviews, but this album is such a brilliant journey from start to finish, and such a great album experience, that I almost don’t want to mention individual tracks. There is also absolutely no filler. Even the songs themselves have no weak parts. There is nothing skippable on the whole album.

In summary; as if you can’t tell already from all this gushing praise, I wholeheartedly recommend this album (and band if you aren’t into the band yet).

lukretion Polish prog metallers Riverside are back with their new full-length album ID.Entity released worldwide via InsideOut on January, 20. The new LP is the first with Maciej Meller as a permanent member on guitar, after the tragic death of the band’s original guitar player Piotr Grudziński in 2016. The rest of the line-up is completed by Mariusz Duda (bass, vocals), Piotr Kozieradzki (drums) and Michał Łapaj (keyboards), who have now been playing together in Riverside for over twenty years.

Despite the remarkable stability in the band’s line-up, ID.Entity shakes things up considerably as far as its sound is concerned, and it is probably one of the most unique and diverse albums in Riverside’s discography so far. Fear not, though: the band’s sound is still firmly rooted in that special hybrid of prog rock and metal that Riverside have been perfecting for more than two decades now. The songs strike a great balance between accessibility and technical complexity. The structure is rich, with multiple interconnected sections and returning motifs, but there are always prominent melodic lines to guide the listener through the ebbs and flows of each of composition. There are also plenty of staccato riffs and intricate polyrhythms that prog fans can sink their teeth into, and a very prominent bass sound for the pleasure of 4-string enthusiasts. The playing is sublime as always by all musicians involved, with Michał Łapaj’s keyboards striking me as particularly inspired on the new songs.

So far things may feel familiar. However, there are also some clear departures from the sound Riverside developed in previous records. The new songs are much more upbeat and uptempo than usual, shaking off that dense sense of melancholy that had almost become a hallmark of Riverside’s albums, especially the last few ones. The sound is also slightly more metallic and heavier, throwing us back to the early, hard-hitting Riverside’s LPs. At the same time, the band here experiments with a vaster array of non-metal influences than in any of their previous albums. There are 80s synthpop references surfacing at various places through the LP, more obviously on opening track “Friend or Foe?”. In a few tracks, I also hear neoprog influences - Marillion in particular (“The Place Where I Belong”, “I’m Done With You”), while “Self-Aware” even digresses in reggae territory, if you can believe it.

Dazzling technical playing, a broad set of influences, and lots of proggy adventurousness to placate our nerdiness are definitely among the many strengths that ID.Entity has to offer. However, if I have to be honest, the new record does not come without weaknesses. Two are bothering me particularly. First, the album sounds a bit like its cover image looks: fragmented. There are lots of great moments here and there that do perk my ears, but somehow I can’t seem to find the glue that holds all these little pieces together. Sometimes, it is just a matter of the band cramming too much in too little time: this is especially the case in the shorter tracks where often one does not have even the time to get to know a riff or melody, that Riverside have already moved on to the next one (“Post-Truth”). But things do not always feel smooth even in the longer tracks. The 13-minute “The Place Where I Belong” sounds a lot like 3 separate songs stitched together into one for the sake of it, and it fails to carry momentum from start to finish. I gave quite a lot of thought to what I might be missing, and it seems to me that the new songs do not always manage to create a consistent emotional red thread that can connect the various themes together and ultimately engage and engross the listener. The music does ebb and flow, but the emotional tension remains disappointingly flat for a lot of the album’s duration.

The album’s concept may be partly the culprit here. ID.Entity focuses on social criticism asking important questions about identity and technology in a post-truth world riddled with fake-news that spread on social media like the plague. It’s a controversial and difficult concept, and Duda’s intelligent lyrics make for an interesting and at times thought-provoking read. However, I feel that the concept may have somehow hijacked the creative process here, ultimately stealing the poetry out of it. It is almost as Duda’s need to clearly convey the message took priority over the musicality and poetry of what he is singing. There are moments in the album where his lines simply have too many prosaic words to make for compelling song lyrics or even for decent lines to sing. Snippets such as “Everyone’s divided/extreme right or extreme left/that’s the only choice”, “And this goddamn anger/coming from every corner/I am not surprised/not happy either/because how much can you bear being fucking lied to”, or “You are not my own CEO” should give you an idea of what I mean. I find myself constantly snapping out of the album’s flow and mood because of it, which contributes to my struggle to get emotionally involved with the music.

Ultimately, and it pains me to say this, ID.Entity is a record that was interesting to spin for the purpose of this review, but that I did not feel attracted to return to for more after each spin. There are only a couple of songs that I genuinely enjoy listening to repeatedly: “Friend or Foe?” (perhaps the best track here), “Big Tech Brother” (but I really have to ignore the annoying fake-robot voice at the start of the song) and “Self-Aware” (though the reggaeton part is a tad jarring). This does not mean that ID.Entity is a bad album, and in fact I suspect that if you are not too bothered by its emotional dryness or the lyrics as I am, you may enjoy this quite a bit as the LP contains a lot of strong music and great playing across its 53 minutes. Overall, while I predict that ID.Entity will divide opinions and is not likely to end up at the top of many people’s favorite Riverside LP list, it is certainly yet another high-quality release from the Polish band, and the start of a new chapter that I will eagerly continue to follow.

[Originally written for The Metal Observer]

Kingcrimsonprog Polish Prog Metal band Riverside suffered the terrible loss of their lead guitarist Piotr Grudziński less than half a year after their superb sixth full-length studio album; Love, Fear & The Time Machine.

After the difficult decision to carry on without replacing him, their next and at time of writing newest album was released in 2018 via InsideOut Music and met with deserved acclaim (and surprisingly in this day and age, sold relatively well for a prog album, continuing their streak of gold albums in their homeland).

It can’t have been easy carrying on without such a key member of the band, who’d been there since the very start, but somehow they managed to create a beautiful, affecting, and very interesting album with no loss of quality, while also not losing their ‘sound’ or ‘spirit’. If they had understandably chosen not to continue after 2016, they would have been leaving us with a wonderful catalogue. As it stands however, on Wasteland they do a masterful job of continuing their genuinely near-flawless discography and only solidifying their legacy as absolute masters of the genre.

The actual playing and vocals are top notch. The production and mixing and have a tasteful, stripped back, classic-sounding, raw feel that perfectly suits the material and the place in the band’s discography.

The real magic of the album however, comes from the material here, which is simply wonderful from start to finish. There isn’t one track I would lose, edit or alter. Nine perfectly balanced no-fat tracks over 50 minutes and not outstaying its welcome.

Its so good all the way through it could be difficult to choose highlights, but if you like the band at their proggiest, then check out nine-and-a-half minute “The Struggle For Survival” which features a bit of a 21st Century Schizoid Man/Heart Of The Sunrise/The Necromancer vibe with a lot of instrumental muscle flexing with some brilliant bass and keyboard showing off (and Maciej Meller’s guest guitar solo is especially quite entertaining in a Fripp sort of way). If however you prefer the band just writing good songs; then the varied ‘Veil Of Tears’ and the haunting and touching semi-ballad ‘Guardian Angel’ for example are two of the best songs the band have ever released to date.

This is a record with a lot of up front charm and instantaneous gratification, but a lot of mood, atmosphere and subtle depth as well and even the tracks that don’t drop your jaw right away become favourites in time (I like “River Down Below” more every single time I hear it for example, and I do mean every single time, I can’t say that for many other bands). As with all the Riverside albums to date, I can’t recommend it enough.

Kingcrimsonprog Progressive Poles Riverside have such a fine track record when it comes to top quality, album-of-the-year level studio albums. Their fourth album Anno Dommini High Definition for example, is arguably one of my favourite albums by any band, ever.

2015’s Love, Fear And The Time Machine; their third consecutive gold album and final output with guitarist Piotr Grundizinski (before his untimely passing), is no exception.

Their early works were dark and interesting, they then hit a phase of being bombastic, colourful and Deep Purple influenced. I saw them live during this period and it was such a rocking good time, you didn’t expect such good fun from a morbid bunch of proggers who usually released concept albums about psychiatric hospitals.

This sixth full-length studio record sees yet another evolution of their sound. It is cleaner, softer, with more prominent classic-‘70s-prog moments and a bit more of an unexpected The Cure influence. (That’s not to say it doesn’t rock out when it wants to, “Saturate Me” hits a delicious Tool-influenced groove in the middle, for example).

I regret, I have been sleeping on this album for a few years, I was hoping to time buying it for just before my next Riverside live show for maximum excitement overlap, but in 2020 with all the concerts dried up, its gotten a bit “well, what are you waiting for?” so I’ve finally taken the plunge, and I’m beyond glad I did. In hindsight, I don’t know how I ever coped without “Afloat” in my life, (a chilling tune, which out -Judgements Anathema).

Its hard to chose highlights, but if I was to introduce the band to a stranger, the number one pick of introductory track would be “Discard Your Fear.” If you like my wet trousered praise of this album, that would probably be the first track you should investigate to see if you’ll like the album as much as I do. It doesn’t really sound at all like typical Riverside fare, but as a singular one-off song, it just rubs me up in all the right ways. If you already like the band but have been sleeping on their later works as I had been, try out “Time Travellers” to see just how well Mariusz’s vocals have developed.

There is rarely such a thing as a flawless album, but I feel confident in saying that this beautiful, exciting, mellow, peaceful, energetic, diverse, interesting, tasteful bag of contradictions is a completely magical masterpiece.

Ps. [If you are unfamilair with the band but like bands such as Haken, Dream Theater, Opeth, Pain Of Salvation or even The Mars Volta then I highly recommend you check them out.]

progshine My polish girlfriend gave me this DVD on my anniversary in May, I really didn't know what to expect of the band live cause I only knew their studio recordings. Like I always do, I watched the bonus DVD first, I like to see backstage footage, interviews and extras much more than the proper live presentations on most of the time (maybe the only exception is Live At Wembley by QUEEN).

The first DVD is the show itself, and it's a very good recording, both audio and video, and seeing them live male me wonder how good is Mariusz Duda, cause as a bass player myself, I know how hard is to play some lines while you sing, Mariusz dows a fantastic work live, as the whole band.

I think it's a great buy for any prog rock fan, this polish band deserves more light on our '70's' world.