Review: Pyramid Theorem – Beyond the Exosphere

Style: Traditional Progressive Metal (clean vocals)
Recommended for fans of: Rush, Dream Theater, Spock’s Beard
Review by: Sam
Country: Canada
Release date: 21 August, 2020

It’s not often anymore that I encounter a band that blows me away on the first listen. And Pyramid Theorem, my dear reader, is such a band. This Canadian quartet pulls no punches. Right off the bat I was slammed with a level of instrumental virtuosity I hadn’t experienced in quite some time. Then after a couple of minutes it became clear that their compositional ability was up to sniff as well and I was over the moon.

Now let’s take a step back shall we? Before I praise this record into the stratosphere and put it near the top of my album of the year list, let’s dissect just exactly the type of music this band makes. Pyramid Theorem is a band that wears their influences on their sleeves. Looking at the structuring of the album alone, one can already discern a thing or two. They were clearly inspired by 70s prog rock, putting an 18 minute title track opener at the forefront, and four short-to-moderate length songs to round out the record for a short 41 minute runtime. Then if their Canadian descent didn’t tell you enough, the opening seconds of the album surely do. The opening chords to the album are a direct nod to the opening chords of Rush opus 2112. From there on it doesn’t take long to discern heavy Dream Theater influences as well, of which especially the Rudess + Portnoy ‘era’ came to mind in terms of patch choices and drum work. I must also say that their website mentions Spock’s Beard as primary influences, but as I haven’t listened to them I can’t confirm nor deny that.

Wearing influences on your sleeves often has a bad reputation in prog circles (iT’s NoT oRiGinAL), but in my mind there’s nothing wrong with acknowledging your influences as long as you mold it into something of your own (though I must admit, worship bands can be fun as hell – see Guardsman‘s latest album). And this band is an example of how to do it right. There are so many direct nods to the aforementioned bands I could write a paragraph or two on it, but it’s in the way that they combine all these familiar elements that they create something new. For example their more extravagant instrumental sections often scream Dream Theater, but the overall compositions are much more dynamic and intricately written thanks to their non-formulaic approach to songwriting, which brings more Rush to mind than DT. Even in their shorter songs, the placements of choruses is unpredictable and the verses aren’t carbon copies of each other but progress the songs and give cool twists to the thing. And it’s not like all the instrumental complexity drops off for a simple 4/4 beart during the vocals either. Surely they can go nuts with the solo sections, but at each given point the music is alive and breathing, either moving itself or moving you.

Speaking of vocals, I should mention that the word is in plural quite literally this time. Three of the four band members participate in the vocal duties, giving a nice personal touch to the music with a mini-choir. It’s not like they do particularly innovative vocal arrangements, but their Triforce Link-up (unrelated Zelda pun totally intended) helps injecting some immense passion into the delivery to make it sound convincing enough to stand out. I have to say though, it might have been cool had they done some a cappella or other interesting vocal interplay (maybe something to try for next time?).

I forgot to mention, but beginning your album with an 18 minute epic is a bold move. Not many bands pull off such an undertaking, so slapping it in front is an easy way to alienate potential listeners if it’s only decently done. Pyramid Theorem pull it off with flying colors. The opening chords pack a very immediate punch and the follow-up solo is beautifully done, so you’re sucked into the song almost instantly. It doesn’t take much build up from there to get into the whirling prog metal extravaganza we know and love. It’s a lovely piece full of dizzying highs and satisfying lows, all intricately woven together by an excellent grip on the overall composition. This is easily one of my favorite songs I have ever heard in prog metal, and by itself would justify a CD-purchase (if there was a CD available to be purchased, that is). I wouldn’t say the other songs are as great as this first song, but honestly that is an impossible standard. These songs are good enough to justify a top 10 placement on my album of the year list. I already mentioned their relatively non-linear approach earlier, and instrumentally it follows the blueprint of the first track, albeit in more compact fashion. Powerful prog metal riffs, busy drumming, smooth orchestration and flashy solos are what you’ll find. The usual prog metal tropes, but done exceptionally well.

Beyond the Exosphere is a mammoth of an achievement in every aspect. The playing, the songwriting and the sonic clarity of the record are a perfect fit for the style and make for an immense sonic adventure. I have no idea about this band’s earlier works (they have three albums), but if this album is any indication, I can expect great things from those as well. Now all that remains for me is to see whether this, or Hạc San‘s latest outing (link to review) will end up as my album of the year, because I don’t see anything else overtaking these two any time soon.

Recommended tracks: Beyond the Exosphere, Closer to the End
You may also like: Lost in Thought, Hac San, Course of Fate
Final verdict: 9.5/10

Related links: Bandcamp | Spotify | Official Website | Facebook | Instagram | Metal-Archives page

Label: Independent

Pyramid Theorem is:
– Christian di Mambro (vocals, bass)
– Vito de Francesco (drums)
– Stephan di Mambro (guitars, keyboards, vocals)
– Sam Ermellini (guitars, vocals)