First of all, Jacob Hansen's production job here is magnificent. As a fan of just about everything he touches, this shouldn't come as a surprise. The man understands the necessity of space in music. Not every second has to be filled with a barrage of distorted riffs, vocals, or the like; sometimes the sound of a light, drifting rhythm with a dash of atmospheric keyboards is enough. And it sounds wonderful in the process. This has to contain some of the best separation between instruments/vocals I've ever heard. With a crystalline sound that has to be heard to be believed, Hansen rivals even his Anubis Gate production jobs (which is saying a lot).
The somewhat typical cover image reminded me of Fates Warning, a feeling not completely discarded by the music itself. However, what I found is that Eumeria aspires less to the US power metal giants of old (i.e. FW, Crimson Glory, Queensryche, etc.), instead coming off in a more modern progressive metal, Dream Theater approach. Normally this would not be a good thing. This band distinguishes itself in that it writes great songs. Yes, songwriting, that long unused tactic abandoned by most progressive outfits when they started incoherently stringing together 12+ minute "epics" connected merely by a track title. Rebel Mind instead consists of conservative song lengths and well-placed repeating parts. It shouldn't be a stunning revelation that the album is remarkably memorable.
Eumeria has only one guitarist, so only rhythms are heard from this instrument. The tone is rather heavy for what it is. The rhythms are supplemented with never too prominent keyboards, adding some depth to what may sound to you like an empty release. It's not, due in no small part to the majestic vocals of Jonny Tatum, whose angelic clean chords phase effortlessly into more aggressive, higher-pitched territory. The man plays it classy in not wailing the whole time (even though he probably could), sounding similar to an accentless Fabio Lione. He gives the songs the melodic punch they need. Oh, and the songs all have merits of their own, as well. "Legion" is the ideal opener, showing some guitar crunch and vocal acrobatics right away. "Delusions" might be the catchiest and most aggressive, displaying some surprisingly pissed off lyrics in the process. The stunning title track is quite a spectacle. The smooth verses highlight the epitome of the band's understated melody, yet the more forceful chorus shows some Symphony X implications.
"Father" and "Tides" head for subtler territory, the latter building up speed after it wades through some slower textures. "The Key" is more of a power showcase until the amazing refrain dreamily reminds of all things Danish. Two and a half minute interlude "Red Light Flies" is a brief yet stunning, emotional number with some haunting vocals and lyrics. "Dreaming of Death" progresses like a dark fantasy, with an eerie effect-enhanced vocal sequence postchorus. Finale "Secret Places" feels a little out of place here (huh); the chorus, although catchy, just feels too power metal influenced compared to the rest of the album. It doesn't hurt too badly, however, with plenty of parts left to savor.
Eumeria's Rebel Mind is likely to be the best US album this year, and the strongest all-around US album I've heard since The Black Halo and This Godless Endeavor were released in 2005. The band could probably use some more creative song titles (and a more creative logo), but this is perhaps just the beginning of what I hope to be a long legacy of future greatness. It's not quite as good as either of the aforementioned releases, but for being a debut from a country that rarely succeeds at making this kind of music anymore, Rebel Mind is a near anomalous achievement, putting Eumeria on the metal map as the band to watch.
Overall: 9/10 (Outstanding - the light won't leave me be)
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