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Studio Album, 2013
4.06 | 1060 ratings
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The album begins with the pitiful New Generation Slave, a long intro that leads to the excellent ballad The Depth of Self-Delusion, where the acoustic guitars and the halftime of the percussions stand out clearly. Conventional rocker Celebrity Touch gives it a more dynamic touch, then falls into the arms of melancholy with the beautiful and deeply sad ballad We Got Used To Us. The versatility of the Poles comes hand in hand with the electronics and eighties Feel Like Falling.
The calm returns with the serene and very jazzy Deprevid, which I consider to have left over the last 3 minutes. The super progressive Escalator Shrine, where the influences of the most cosmic Pink Floyd are present in much of its almost 13 minutes, is the best of the album, along with We Got Used To Us. The short and naked Coda is the ideal final appendix, where Duda's deep voice is accompanied by heartfelt acoustic guitar.
Although the Shrine of New Generation Slaves is a step below the Anno Domini High Definition, it is still a work of the highest quality, as is the great form of the band, which confirms them as one of the Progressive rock flagship groups of the 2000s.
Studio Album, 2009
4.22 | 1333 ratings
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Including some nods to Dream Theater and Porcupine Tree, Mariusz Duda and his bandmates intertwine 5 songs seamlessly or lows, combining euphoric moments with masterfully constructed laid-back atmospheres. There isn't one song that stands out in particular, simply because they are all at a superlative level, further enhanced by impeccable production work. The main protagonists are the always clean and deep guitar of Piotr Grudziลski and the keyboards of Michal Lapai, much more present and active compared to any previous work by Riverside.
From the aggressive Hyperactive, we enjoy a constant and dynamic proposal that stays active with Driven to Destruction, and is further intensified by the powerful and changeable Egoist Hedonism (impeccable keyboards and vocals from Mariusz Duda in the middle of the song). To close the album, two long songs, the superb Left Out of almost 11 minutes (half a calm song and the rest an irrepressible whirlwind) and the super progressive Hybrid Times of 12 minutes (again the keyboards present, decidedly protagonists).
Anno Domini High Definition is one of Riverside's strongest work, and undoubtedly a fundamental work of progressive music of the present century.
Studio Album, 2018
4.00 | 450 ratings
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Review by AtomicCrimsonRush
Special Collaborator Symphonic Team
The album has a sadness flowing through every song due to the themes of alienation of the lost and lonely embedded in the lyrics. Vale of Tears has a heavier vibe but still embued with the soft impassioned vocal of Duda. The Struggle for Survival is an instrumental workout of blazing guitars and tempestuous drumming and bass, the longest track at 9 and a half minutes. The time signatures fluctuate and it builds with soaring guitars into a cacophonic prog explosion of sound. The lead guitar screams in pain at 6 minutes in and then is released to the main melody that is haunting. The diving guitar sustained notes are glorious, definitely a grand instrumental to savour.
The balladic River Down Below is absolutely mesmirising with Duda in fine voice and some heartfelt lyrics that sink to the depths of sorrow. It was a successful single for Riverside and has a lyric video that is very effective.
Wasteland has a raspy vocal and odd meter with guitars that follow the lyrics. There are some nice harmonies that add a depth to the layers, and eventually it merges into a heavy guitar riff with complex polyrhythms and ascending cadence. The discordant melody is joined by more complicated guitar riffs that interplay with the drumming. The glissando guitar reverb has a spacey feel that chills the atmosphere. There is some beautiful guitar picking and keyboards and it locks into a pretty melody. The distortion and riffs return towards the end and a few theremin spirals augment the ethereal soundscape. Riverside are definitely back at their best on this treasure.
The Night Before is another quiet ballad with sweet piano melodies and soft, raspy vocals. The dreamy atmosphere is enhanced by reflective lyrics and simple piano lines.
Overall, while this album is not a masterpiece by any standards it features some of Riversides most melancholic, infectious ballads and some masterful tracks such as Wasteland and The Struggle For Survival. The songs grown on the listener over time and it has a powerful atmosphere with gems such as River Down Below which is beautiful and will resonate with many who will be able to relate to it.
Review by AtomicCrimsonRush
Special Collaborator Symphonic Team
It opens with grandiose melancholy that builds into a cacophonic maelstrom of keyboards and guitar with Lost. Duda exudes a passionate vocal throughout the concert and this is one of the last times we will be treated to the guitar prowess of the late great Grudzinski.
Feel Like Falling follows with beautiful soaring guitar and atmospheric keyboard embellishments. Hyperactive is next from the masterpiece Anno Domine High Definition, and sounds as amazing as the studio release. The melody on this is incredible and it segues into the wondrous tranquility of Conceiving You, Duda sounding mesmiric and reflective. 02 Panic Room is a masterclass performance that certainly does not disappoint, followed by Under the Pillow and the barnstorming prog workout The Depth of Self-Delusion. The Cd concludes with Saturate Me that has a powerhouse blazing guitar and shimmering keyboards.
CD 2 opens with hypnotic and passive Egoist Hedonist that builds into shadows of dark vocals and guitar riffing. We Got Used To Us is one of the best live performances of this track and the pulsating ethereal Escalator Shrine is a lengthy 20 minute multi movement suite of progressive bliss. The Same River is 13 minutes of atmospheric prog and the concert concludes with Found.
The running time is just under 104 minutes and is a mind blowing experience for all Riverside addicts. The line up of Mariusz Duda, Piotr Grudziลski, Michaล ลapaj, and Piotr Kozieradzki is as good as it gets. RiP Grudzinski, you will never be forgotten.
Studio Album, 2003
4.21 | 1202 ratings
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The poles finely blend the progressive metal with the symphonic and neo-progressive currents. This brew results in an authentic atmosphere of melancholy and darkness: Piotr Grudziลski's guitar, always immaculate even in the most complex of moments, admirably combines whit Jacek Melnicki's keyboard and the intense voice of the leader and bass player of the band, Mariusz Duda.
Out of Myself is a spotless piece of work. The following pieces are, at least for me, the best of the album: The same River, the opening song, a 12-minute legitimate progressive rock composition with an excellent final guitar-solo; both Reality Dream I and II (but primarily the latter), which are fine instrumental symphonies; finally, I Believe and In Two Minds, two outstanding and beautiful ballads.
Riverside's debut, then, was an immense hit. The newly-formed group entered the musical world with an album that would become an all-time classic in the progressive metal sub-genre. It is worth noting that Out of Myself is just the first part of a trilogy: after it follows Second Life Syndrome and Rapid Eye Movement.
Studio Album, 2005
4.24 | 1755 ratings
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Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team
The band found out how well they fit into this niche in 2005, when they surprised the progressive metal world with their 2nd album 'Second Life Syndrome'. Their music has matured quite nicely, even though they had only put out one album before this, and this album ended up sounding more like a mature band that had been around for a while. The album is full of mostly moderate tempo anthems, but that dark and expressive territory is explored to its most dynamic regions.
At first listen, the music might seem a little too much alike, especially where the tempo doesn't really change much, however, there is so much to discover with repeated listening. All of the things that might not be apparent at first really start to shine through. The band's talents draw you in and the way they experiment with the dynamics sometimes even bring the music to new heights that have also been approached and explored by those bands that are more famous. Just listen to the tour-de- force of emotional range on the 2 epic tracks; the title track and 'Dance With the Shadows'. Suddenly, all of the hesitancy and unsurety of the first album (which actually seems more polished and insincere) are surpassed as if the band was told to just follow their instincts and let loose with their ingenuity.
The only thing keeping this album from being perfect is that the tracks do have the same atmosphere, and Riverside does have a hard time breaking from that formula. More exploration or experimentation might help, but the band has also tried some experimentation and it doesn't always seem to work to their advantage. One place that it does is on this album with the instrumental 'Reality Dream III' which is probably the most explosive track on the album. Yes, it takes some time to build up its crescendo to an amazing climactic ending, but that is also what makes it more powerful.
Progressive fans will still find plenty to keep them happy here. The songs are structured somewhat similar to that of Tool in that the song structures are not in any way traditional, that there are plenty of rhythm, meter and melodic changes throughout the album to keep most of those fans happy. The music on this album is not that challenging either, but it still captures you and keeps your mind engaged with its somber yet dynamic atmospheres. This is an excellent album and is one that progressive metal lovers should be familiar with.
Studio Album, 2013
4.06 | 1060 ratings
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Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team
Such is the case with their 2013 album "Shrine of New Generation Slaves" (lovingly designated SONGS for short). This album explores through the bands heavy and moody style how people have the unsatisfying lives of becoming slaves to their work and losing control of their personal lives. As businesses find ways to satisfy their workers, or at least look like they are doing so, by installing on site gyms, and what not, they hope to get more control over their people, even getting to the point that it will cause people to stay at work more and never leaving their offices. They make people think they are giving them a better work life when in reality, they are only finding ways to control them more. This is the new slavery that Riverside is talking about and what they address in this album.
The album is made up of 8 tracks with a total duration of 51 minutes, unless you get the LP edition, which features 2 more tracks. "New Generation Slave" does an excellent job of introducing the subject, with easy to understand lyrics sung in between hard guitar riffs that build the intensity of the album until it finally unleashes with a progressive driven rhythm and a solider heaviness generated by the guitar and organ. Mariusz Duda occasionally likes to use some light effects to help texture is voice and does so on this track. If anything, it seems like it weakens the impact of the lyrics, in my view, and he does this also in "The Depth of Self-Delusion". This track is steadier and flows more like a straightforward sound with a hint of smooth, fusion texture, not unlike the sound of The Pineapple Thief on one side of the extreme to Opeth on the other side, who I often find a lot of similarity with in some cases, Riverside is a band that resides comfortably (and quite successfully, I might add) in between the poles of these bands. The song continues to utilize dynamics very well by throwing in instances of acoustic guitar and high percussive tones (similar to xylophone). You can expect an emotional guitar solo in there too, which is always a great draw to their music. The music is quite melodic and pleasant, but still retains it's dark and moody atmosphere.
"Celebrity Touch" is a bit heavier, and also is more akin to a classic progressive sound, a la "Kansas" or "Styx", but still with a more current overall feel. The melodic and catchy electric guitar riff and the nice layer of organ help to generate this sound. "We Got Used to Us" is a shorter, almost radio-friendly track showing a more mellow side of the band that also give a chance for the guitar to shine a bit, but mostly driven by lovely piano chords and notes. "Feel Like Falling" takes us into a different territory for the band with a synth heavy riff, a bit bouncy even. Of course, there is the underpinnings of heavy guitar to support the track as the rhythm pounds merrily along, only breaking for a short interval after a short instrumental break. "Deprived (Irretrievable Lost Imagination)" takes us back to a longer form at over 8 minutes as we return to the band's form of moody and emotional dark tinged songs. This track focuses on one of the band's strengths of well-written, almost poetic lyrics. The music is nice and pensive, but with a flowing rhythm, again reflecting Opeth at their most mellow (as in the "Damnation" album). Around 5 minutes, things become a bit more intense as a tricky beat generates a solid sound and preps for a nice, melodic guitar solo with twinkling piano backing it up. Then, a nice surprise when guest Marcin Odyniec provides a stellar and captivating soprano sax solo before the song is brought back to its original, pensive sound.
"Escalator Shrine" takes the prize as being the longest track on the album at over 12 minutes. A drone stays in the background as an echoing effect on the guitar gives a nice touch to a Spanish style to the introduction. The classic prog touch is evident again with a nice flowing bass line and moody keys that remind one of The Doors. Just before 5 minutes, a bass introduces a tasty, new driving rhythm and soon the entire band joins in with some great organ and then synths and guitar lines bring it all into an awesome instrumental passage. At 6 minutes, things suddenly get heavy and dark with a thick riff and vocals joining in before finally passing into an atmospheric section with a throbbing bass and layers of keys, synths and atmospheric guitars. This harkens to the melodic instrumentals of Pink Floyd, but done with the Riverside flair. After 8 minutes, the music returns to the original theme, but with some nice variation in the instrumental support. After 10 minutes, a new riff is introduced and the music develops off of this to take the track to the end. This track is what you listen to progressive music for, nice complex compositions that give the listener the challenge they need without making things too complex. It's a well-composed track that testifies to the band's creativity and talent. "Coda" finishes off the CD at this point with a short track, soft and mostly acoustic, it acts as a coda to the album, not the previous track.
If you are lucky enough to have the vinyl version, there is another disc included with a two part track called "Night Session", Parts 1 and 2. Each track is over 11 minutes long, so for Riverside fans, it's a must have. Part 1 is a nice instrumental track that utilizes the band's talent for song development, yet it has more of an improvised sound, and it utilizes a lot of synth loops which allows the band to be more creative on an individual basis, as the fill the spaces with heavenly notes and textures. This seems to pay homage to Tangerine Dream in a way, but also travels to different textures and beat through the track, never staying stuck on a single loop for too long. There is a bit of ambience and a bit of electronica in this one, pretty unlike most of the band's output. Part 2 takes on a more experimental vibe. As a soft noise drone sounds in the distance, the guest saxophonist returns (with the alto sax this time) and provides a real solo, with only the droning sound as back up. Looped percussion comes in and synths ebb and flow making things atmospheric while the soft sax continues. Things turn away from the dark feeling at the start and actually start to sound cheery with just the right shot of jazz inflection coming in and some soft, airy vocals swirl around. It almost seems that you are not listening to Riverside now, but it's nice and it shows the bands ability to be not only versatile, but to do it in an improvised setting. Things go back to a more pensive and ambient state as in its last few minutes, but you are left with a pleasant and relaxing mood.
This is an all around great album that shows the many sides of the band that many had previously thought of as being more one-sided, and even more so if you have the bonus vinyl tracks. But you even hear that in the main album too. It is easy to see why this band is a favorite among lovers of progressive music, mostly those that like the heavy side, but still love the atmospheric and moody edge that this band provides. The album is well-polished. It is one that most people will not regret having. There is no ground broken on the album, but it still satisfies that need to have great progressive music that you don't necessarily need to invest a lot of time in to appreciate it.
Studio Album, 2005
4.24 | 1755 ratings
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Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams
This second album of the Polish Riverside belongs to this category. It contains some scream, some very heavy distorted guitar, but there's also an Emersonian piano, moments Pink Floyd like and an obvous connection with Porcupine Tree. It's not a coincidence if the last albums of this band have been engineered by Steven WILSON.
For my nature I prefer the Floydian moments, but I absolutely don't dislike the heavier parts. Mariusz Duda has a great voice in both clean and screaming, as well as the missed Piotr Grudzinski can do what he wants with his guitar. Possibly one of the most talented rock guitarists of the current century. Not that Lapaj And Kodzieradki are less skilled, of course.
I have to say that "Conceiving me" is the first RIVERSIDE song I've ever listened to, and I was stunned by the title track immediately following it on the album, a 15 minutes epic which crosses the whole prog.metal subgenre.
I have mentioned Grudzinski. His guitar playing is closer to John PETRUCCI or than to GILMOUR, but it has a FLoydian mood in choosing the right notes, without putting too much stuff in a solo and supporting the band when his guitar is not the leading instrument.
The last track, "Before" can be taken as example. All the four create a soundscape in which there's not a prevalent instrument. All do their parts and the result is excellent. There also a bit of GENESIS influence on this track in my opinion.
Anyway this is very close to be a prog masterpiece, and honestly even if I'm not much into prog-metal as subgenre I have to say that RiVERSIDE has become one of my favorite bands, and this is the album from which I have discovered them.
We get 13 songs over about 105 minutes of music in this double disc affair. Every one of the six studio albums they have released is represented here with at least one track. A nice capture of the Riverside we came to love. A bit rougher, heavier than the studio incarnation, but it still works flawlessly. I just can't get over how this music moves me. "Found" is my ove
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