RIVERSIDE: Wasteland (PROGRESSIVE ROCK): review / opinion to read on Music Waves

Relatively soon after Piotr Grudziński's death, Mariusz Duda, the leader of the band, made the decision not to bury Riverside, to continue as a trio and to get involved in the composition work. The band released a rather unsettling electro and quasi-instrumental compilation. Then, the leader committed himself body and soul to his personal project Lunatic Soul by releasing two albums in less than a year while being accompanied by the members of Riverside. It is in this context that "Wasteland" comes into play.

Mariuz starts 'The Day After' a cappella with her clear and deep voice which is then blurred in the last seconds with a few violin notes à la Believe to make the transition to 'Acid Rain'. If 'Love, Fear And Time Machine' had marked a turning point at Riverside with much more atmospheric moments, this track goes back to the metal protrusions of yesteryear. Mariuzs, who now takes care of the guitar parts, in addition to the bass and vocals, distils aggressive riffs with a heady aerial chorus.

"Wasteland" is close to "Rapid Eye Movement" notably with less sanitized tracks while keeping a pronounced taste for melody. Several tracks echo the tragic event that struck the Poles, such as 'Vale Of Tears', which oscillates between a contained and modest rage in the almost heavy Maiden-style verses and a soothing chorus. It reflects (as does the entire album) the grieving process that the band went through. The Struggle For Survival' that follows is the most surprising track. This instrumental illustrates the difficulties of those who continue to live without the one who has gone. The guitar is widely emphasized, sometimes disjointed, repetitive, hypnotic as if Piotr had been reincarnated in it. The solos follow one another, tangled up with the layers of keyboards and a demonic rhythm.

In spite of this gravity, moments of grace are legion with the magnificent 'River Down Below' which, after an almost medieval folk introduction, delivers an unstoppable melody that gives goose bumps and a magnificent final solo, or 'Guardian Angel' transported by its celestial chords dedicated to Piotr which contrast with the voice of Mariuzs, once again incredibly serious. 'Lament' takes on a mystical aspect and is medieval with its vocal harmonies in the form of a choir. The eponymous title is also quasi-instrumental, leaving it up to the musicians to release their feelings and exorcise their frustration with the depth and richness close to Transatlantic. The piano comes to end this beautiful album gently and serenely, taking inspiration from Iamthemoring, adding a little more emotion to "Wasteland" which is not lacking in it.

In the end, this album of reconstruction clings to the past of the Poles, even in the cover which reminds "Memories In My Head". It undeniably places Piotr at its centre while avoiding falling into indecent pathos. Riverside, with a restraint and melodic know-how that honours him, could not have dreamt of offering a better tribute to their late guitarist. If it will take some time to determine the place this album will take in the band's discography, we can already affirm that it offers enough high-flying moments and more difficult segments to allow the trio to heal the gaping wound left by Piotr's disappearance and to (over)live with this pain. - Official website

RIVERSIDE

WASTELAND

INSIDEOUT MUSIC

PROGRESSIVE ROCK