US band WHILE HEAVEN WEPT is one of the pioneers of metal from the US that have somehow escaped my attention so far. Which says something about how many bands that are out there and active I guess, since they have a history going back a quarter of a century, with one live album and a grand total of five studio albums to their name. “Suspended at Aphelion” is the most recent of these, and was released through the legendary metal label Nuclear Blast in 2014.
As an old metalhead that somehow have stumbled into the progressive rock universe in recent years, While Heaven Wept as of 2014 is an intriguing exercise in terms of style. This is a band that apparently have established a sound reputation as a doom metal band, but on this latest production of theirs you won’t find many traces of anything that can be labelled as doom metal. Instead I’d say that they have their foundation in 80’s heavy metal, and that one might question if they have actually crossed the borders to progressive metal or not. As far as this album is concerned that might inspire a long and ongoing debate among certain progressive rock fans, and a debate that doesn’t have any obvious correct point of view.
Basically we’re treated to a single composition divided into 11 different parts here, with three distinctly different types of styles explored. On one hand we have the atmospheric laden opening and ending pieces that bookends this album. Strings have a central place in both of them, and both of them have a distinct orientation towards classical symphonic music. Then we have the ballad oriented escapades, with room for frail piano and string elements, blended in with additional keyboard arrangements, the more powerful and majestic arrangements that tends to sneak in whenever a metal band explore ballads by way of careful but distinct guitars, in this case combining with the keyboards for majestic soundscapes. And lastly we have the parts of the compositions that have more of purebred metal orientation, just about at all times with keyboard details of some kind on top, more often than not one that combines with the guitars to form a majestic sound and more often than not in a manner that makes the word symphonic just about impossible to avoid. Add in occasional variations in pace, intensity and stylistic expression within the individual parts and the reason for the progressive metal or not discussion does become evident and logical.
Personally I found this to be a very well made album, obviously crafted by experienced hands on all levels. Good and well developed songs, good instrumentalists, a high quality vocalist and all wrapped up in a strong, quality mix and production. Nerve and tension are maintained with the ease of an experienced and motivated band, and even when they add the odd one in, in this case an instrumental track that sounds like an escapee from an Iron Maiden album, this is done with style, elegance and a high level of sophistication.
Ultimately this is a very well made, high quality album. If it has the qualities to grow into a classic I don’t know, but the quality is impressive throughout and I’m fairly certain that this will become of those timeless albums that sounds just as good ten years from now as today. Apart from that I’d recommend this CD to those with a taste for both 80’s style heavy metal and early progressive metal, and in particular those who enjoyed music described as symphonic metal prior to the the time when bands such as Nightwish kind of kidnapped that description.
My rating: 80/100
