A lot has happened in the career of Italian progressive / power metal band Athena since their original breakup in 2002. Most evident has been the solid productivity and elevated status of singer Fabio Lione through his work in Rhapsody, Vision Divine, Angra, and a boatload of other guest singing, project, or live performance outings. Coming back in 2019 with vocalist Giacomo Boschetto, he would leave in 2022 – allowing Fabio to return. Renamed Athena XIX, the quintet has released their first album in 23 years for Everflow Part 1: Frames of Humanity – a 13-track effort that showcases a tightly driven look into the band’s sophisticated blend of virtuoso progressive metal musicianship mechanics while focusing on shorter, compact arrangements that can be easier to digest or retain.
Immediately waves of stunted guitar/drum interplay give way to softer keyboard / vocal passages on the “Frames of Humanity” opener – Fabio carefully crafting his melodies in mesmerizing shades of happiness, sadness, and confidence to match the musical dynamic shifts. At other points EDM aspects filter in, while previous chord progressions gain additional exploration briefly in subsequent tracks – tying things together conceptually to keep listeners ears perked up. The juxtaposition of circular sequences next to propulsive progressive parts ensures deeper dives to process all the information present. Bassist Alessio Sabella and drummer Matteo Amoroso jump start “The Day We Obscured the Sun” in a morse code-ish tandem off-time underpinning, once again encouraging further left-field mysterious vocal melodies and smoother organ / guitar parts that make this an early favorite. When all five musicians come together in faster bursts, the results can be equally breathtaking much like early Dream Theater, Symphony X, or Evergrey as “The Seed” exemplifies – while modern overtones next to a commercially-infused chorus makes “The Calm Before the Storm” a comforting instant appealer.
Progressive artists these days take in numerous outside influences to generate sounds that expand horizons into what musicians can execute. Mini-gallops or staccato-like guitar squeals next to semi-classical piano play, snare / fill hits that groove one measure, then hit on off-time sequences – that’s what you’ll get on “Where Innocence Disappears”, all at a tidy 4:31 time frame. Fabio’s harmonization capabilities also carry the semi-ballad “Inception”, his soothing lower register present in the verses that rise to upper glory in the chorus. And for those who like guest appearances, you can never go wrong with ex-Kamelot singer Roy Khan as a partner on “I Wish” – the unison guitar/keyboard parts very connective as the back-and-forth vocals unfold in masterclass resonance.
Athena XIX may have been more of a mid-tier progressive metal outfit during the late 90s/early 2000s in their first incarnation, but this second chance could provide them with a bigger platform of appeal. Everflow Part 1: Frames of Humanity contains a stirring sense of collaboration to reach a multitude of listeners, from those into the origins of this style all the way through newcomers – and that’s not easy to achieve. It’s clearly evident that the time away hasn’t diminished creative prowess or execution – channeling a stirring effort that will leave listeners thirsting for future records in this series.