Over the years, we’ve watched North Carolina’s Between the Buried and Me climb the ranks from metalcore weirdos struggling to find a place in the metal scene to prog metal masters with a legion of rabid fans and achieving worldwide headliner status. Through a series of critically-acclaimed opuses, a scene had formed itself around Between the Buried and Me as trailblazers of a new branch of modern progressive music, and one might argue that the biggest splash from the group came from their 2007 opus Colors, which turns 10 this year(!!!).
Let’s get the superlatives out of the way right now: Uneven Structure’s debut album Februus is the greatest album to come out of the djent movement. There are contenders, for sure. Masstaden. One. Periphery. Each album was groundbreaking in its own right and contributed great things to the genre, but when examine progressive songwriting abilities, emotional content, scope of dynamic, and overall ambition, Februus rose above the rest. Needless to say, this provides a bit of a challenge for the French prog unit; some bands that find themselves wedged into a niche fail to find much light trying to claw out from behind the shadows cast by a monolithic debut. Factor in lineup changes and nearly six years between records, the hype and anticipation built for their sophomore full-length might seem insurmountable. Can lightening strike twice, or can Februus’ power be attributed to a fluke of being in the right place at the right time?
It’s been nearly six years since we were absolutely floored by Uneven Structure’s debut album Februus. It was a perfect storm of ambition, atmosphere, and emotional/conceptual depth that made it tower above the array of djent records that dropped in the early 2010’s. Depending on who you ask, it may be the best record that has ever come out of that scene.
The follow up La Partition is no slouch, either.