Like many sub-genres, Progressive Rock has seen a stylistic ebb and flow, with a few strong bands rising to set the tone that inspired those who followed in their wake.
As Metal veterans, The Ghost Next Door takes you back to prog’s high water mark in the mid-nineties when bands like Tool and Faith No More rose to prominence and broke boundaries. On Classic Songs of Death And Dismemberment (Ripple Records), they create a moody blend of post-grunge-tinged Rock that puts the lyrics front and center. At the heart of the songs are social observations and commentaries on the state of the world.
“It Takes A Village” finds the range-flavored croon taking a jarring turn into a Mike Patton-inspired staccato pattern that feels more rapped. The bass player might be the Album’s VIP keeping the groove shiting under it all. They charge in a heavier direction on “Diatribe.” The aggression ebbs back down into more speculative melodies that fans of Dream Theater might dig. They dance off odd time signatures and explore shadowy sonic spaces with an admirable sense of adventure that is the band’s strength when all the pieces fall in place.
While a wide variety of influences shine through – most coming from the same era – the backbone of the album becomes its penchant for sinewy grooves. What sets the band apart from other bands is their willingness to allow the guitar player to rip Steve Vai-influenced guitar passages. You do not have to be a student of shredding to appreciate this. Although a guitar solo has never made a song, it is window dressing meant to either expand upon the melody or a showcase to impress.
It depends on how you define heavy when it comes to how you are going to hear this band. Overall it’s more Rock. When the singer does belt it out, he employs grit rather than committing to a growl. This works for what these guys do as it is hard not to repeat a band that makes melody a given priority, by resisting the urge to fully give in to their anger in the way a Metal band would.
After all, there are plenty of bands out there doing that. While the grooves that continue to unfold bring to mind nineties underground legends, I Mother Earth, the elephant in the room might become how noticeably they wear their Tool influence on their sleeves. This is done with taunt palm-muted riffs that slither around the dark labyrinth of songs that occupy the second half of this album. Most of this could be said to be derived from Undertow-era Tool, but they do lock into a clock-ticking syncopation, which is very “Lateralus” like at times. If you are hoping the last song “Wax & Wane” is a Cocteau Twins cover, it’s not but it does continue down the morose path of reflection the album is known for.
They might not be the most original band, but The Ghost Next Door have taken their inspirations and woven them into worthwhile songs that soothe a nostalgic ache for the nineties.
Buy the album here:
https://ripplemusic.bandcamp.com/
8 / 10
WIL CIFER