siLLy puPPy BETWEEN THE BURIED AND ME return in 2018, three years after their progressive metalcore extravaganza “Coma Ecliptic,” and unleash a completely new strategy as far as marketing their new product. While the band’s albums have always run on the lengthy side more often than not exceeding the sixty minute mark, for this followup, BTBAM released their new material as a two-part combo that was released as two separate albums four months apart. This first installment AUTOMATA I came out on 9 March 2018 with “Automat II” following on 13 July 2018. While this was an irritant for many to have to wait for the conclusion of a metal tale that is essentially two chapters of the same book, others like myself simply waited until both were released so that i could listen to them instantly in their proper order.

While linked by the daedal conceptualization that revolves around the ability to view the dreams of others, the two albums stylistically differ quite substantially from one another. AUTOMATA I nurtures the more traditional sound that BTBAM has crafted subsequently as the band has crafted more progressive metal elements into their metalcore bombast whereas “Automata II” is the much more experimental of the pair. Both albums are relativity short by BTBAM’s standards and serve more like two separate EPs but they have been marketed as two bona fide albums that constitute a greater whole. AUTOMATA I clocks in at 35:13 and “Automata II” at 33:12. With so many bands releasing an album with an extra disc of bonus material, it’s surprising that BTBAM went the opposite direction and split this essentially single album into half.

Since the band has enjoyed a rather stable lineup of the same five members ever since 2005’s “Alaska,” BTBAM has consistently evolved their progressively tinged metalcore into ever more sophisticated progressive and experimental extreme metal that simply builds upon what came before. For those familiar with “Coma Ecliptic,” AUTOMATA I continues the same intricate weaving of pummeling guitar riffs, progressively designed compositions with time signatures run amok and the ever changing dynamics and tempos that jump from bombastic progresso-core madness with the expected screamed vocal style to the softer passages that implement clean guitar sweeps, soaring atmospheric embellishments and melodic clean vocals that hypnotize before the pendulum swings back to the erratic distortionfest and metalcore mania.

AUTOMATA I consists of six tracks that lyrically tackle the concept of dreams being broadcast for the purpose of entertainment. While the lyrics themselves are quite nebulous in their intricate design, the album allows the listener to explore the ramifications of such technologies that could possibly be used to induce, record and even weaponize dreams for the purposes of overall control. Musically, AUTOMATA I delivers the usual extraordinary daring and tight musicianship that isn’t afraid to tread some of the most progressive pastures that the band has embarked upon to date. The secret of BTBAM’s longevity is that the band has successfully gaged the evolutionary threshold of the fanbase and only deviates a certain degree as not to alienate the followers.

To the uninitiated AUTOMATA I may not sound significantly different than the series of progressive metal dominated albums that have emerged since 2012’s “The Parallax II: Future Sequence” but careful repeated spins finds AUTOMATA I has plenty of its own personality to set it apart from its predecessors. Of course, this album displays the unmistakable unique style that only BTBAM can generate, that is that intense surreal swirling about of the most extreme metal with atmospheric psychedelia and angular convoluted progressive rock in all its escapist tendencies.

Within the six tracks, the pacing is impeccably designed. The dynamic shifts from aggressive to serene allow the attention span never to wander far and the excellent production allows every tiny sound to come to life which makes this a bona fide 21st century musical sci-fi experience. While “Condemned To The Gallows” starts off with clean guitar arpeggios with lush keyboards and electronic vocal effects, the album ratchets up quickly to the metalcore crescendos that weave in and out of the musical flow. While every track holds up well and integrates into the larger framework, the highlight comes from the closing dual pomp of the brief ambient “Gold Distance” in conjunt with the ten minute finale “Blot” which goes for the gusto with some of the craftiest mix of sitar sounds, eccentric keyboard riffing and superb guitar riffs and soloing as it sallies forth down an extreme labyrinthine journey with some of the most soaring melodic vocal deliveries on the album.

There seems to be a general consensus that AUTOMATA I is the weaker of the two installments, however after several spins of these two well-crafted mini-albums, i have come to the conclusion that these two segregated segments of the overall storyline are of roughly equal standing. While “Automata II” is the one that takes BTBAM into completely unexplored arenas including the territory of swing jazz that falls into the Diablo Swing Orchestra camp, AUTOMATA I as a traditional BTBAM progressive metal album is simply outstanding in its delivery from beginning to end. Perhaps the main complaint would be that it plays it too safe and doesn’t deviate too far from previous albums, but despite snuggling up in its comfort zone, nevertheless cranks out six seriously fine-tuned compositions that shows that the band are still on top of their game and in full control of their musical output. This is an excellent followup to their their never-ending progressive metalcore legacy.