Style: progressive metal, progressive rock, post-metal, doom metal, experimental (mixed vocals)
Recommended for fans of: maudlin of the Well, Kayo Dot, The Gathering, Opeth
Country: United Kingdom
Release date: 24 October 2025

---

I’d like to think we form parasocial relationships with the artists we follow online. When a band releases a streak of albums of a sound you enjoy, you feel like you know them like a dear friend. Hence, the reason why albums like Opeth’s Heritage from 2011 made many dedicated fans exclaim loudly at their computer screens, “I don’t know who you are anymore!” Meanwhile, bands like Dawnwalker simply get the audience comfortable with being uncomfortable, generating little to no stylistic expectation. Dawnwalker moved from roots in progressive post-metal à la Cult of Luna or The Ocean, then gradually incorporating significant classic progressive rock influences. Naturally, one shouldn’t be too surprised with a third genre shift.

Dawnwalker’s latest release The Between delivers a one-track, thirty-two-minute album with significant experimental metal and art-rock influences. Carefully narrating the phenomenology of the dying process and tangent Buddhist implications, Dawnwalker lean significantly into more experimental territory; demonstrating yet another distinct stylistic shift for the Londoners. The Between incorporates chanting choral vocals, jazzy and unpredictable musical arrangements, a thorough inclusion of Oli Genn-Bash on alto sax, and a large variety of vocal techniques from Dane Cross, Amber Marie, Sofia Sourianou, and lead composer Mark Norgate himself. The band has been known to play a lot with syncopation in the past, but here they play up the abruptness and high-contrast with skipping beats, oftentimes having six-plus instruments harmoniously exploding in and out of moments of silence. 

The Between opens with an artsy percussion choice, dinging some sort of hollow glass or metal objects that ring outwardly as jangling chains, buzzing brass, and throat singing layer the backdrop. A womanly voice in a soothing tone speaks candidly about how this is your time to shed all illusions of loss, fear, and attachment—following a path becoming one with the light of nature. Now you’re in the right headspace! The album takes an approach similar to The Reticent’s work, conveying a narrative about the process of loss lyrically while oscillating between the kinds of emotions (sadness, desperation, anguish, fear, acceptance, bliss, etc.) associated with different mediums of metal. For instance, the more painful lyrical moments of the decomposition of the flesh are accompanied by impressive dualing harsh vocals in a way I wish more extreme metal bands would attempt, contrasting blackened shrieks with burly death growls. Both of these vocalists have really nice techniques and I particularly appreciate the textures they generate in their frys; the shrieker maintaining enough of the cadence and saturation of his voice to bleed through while the growler delivers a breadth of grit to his approach. In an unexpectedly frightening moment at the 7:15 mark, the drummer, saxophone player, and vocal shrieker combine efforts and deliver a dissonant section that stops and repeats reminiscent of Ashenspire, or their forefathers, Imperial Triumphant.

In the second half of the album, flutes come in and play a chord progression in isolation for a brief moment before a Pink Floyd-inspired progressive rock section full of sentimental clean vocals, piano, and moody guitars greets us, along with the lyrical mourning process. I quite enjoyed the way the different guest vocalists involved in this project harmonize with each other, especially when the Floydian synths amp up the feels, bringing out the soothing catharsis of the concept of letting go. Luke Fabian’s performance on bass does especially admirable work with his jazzy, twisty signature, popping in and out of the vocal progressions.

Most of the exciting aspects of The Between lie in the construction of its long-winded song structure and the strong performances of the guest musicians; however, it’s problematically lacking in its riff quality and clean vocal deliveries. Mark Norgate makes for a solid orchestrator and composer, but whenever it comes to his turn to deliver croons, vocal narration, or lead guitar work, it usually comes out rather tepid and generic. The only decent riff in the entire album is the one that comes in around the 5:25 mark, which sounds kind of inspired by something off of Opeth’s Sorceress. Furthermore, Norgate’s singing feels rather unambitious; for an album about experiencing death itself, I would expect much more emotional resonance or impactful force in Norgate’s vocal deliveries. When compared to a contemporary prog metal album about the psychology of loss like The Reticent’s The Oubliette, there is no real competition regarding the intensity of the emotional impact. For both the riffs and vocal melodies, there’s a noticeable absence of the “hookiness,” which results in them both being forgettable.

I’m happy Dawnwalker continue to explore new ideas. However, The Between missed the mark significantly because of the generally bland riff and vocal constructions that serve as primary components in the album’s composition. I have listened to this project for approaching seven years now, and I know Norgate can sing better than this and write more interesting riffs. Maybe he got too caught up in all of the directing and scheming of grand album designs, I’m not sure. Nonetheless, if you are a fan of experimental metal, you will not be disappointed with the unconventional instrumental choices and the success of delivering a grand, holistic concept album. However, if you’re not in this group or are not already a fan of Dawnwalker, I’d probably pass on this.

---

Recommended tracks: Perhaps the one-track album?
You may also like: Victory Over the Sun, The Reticent, Ashenspire, Yakuza
Final verdict: 6.5/10

Related links: Bandcamp | Facebook | Official Website | Instagram | Apple Music | Metal Archives

Label: Independent

Dawnwalker is:
– Mark Norgate (vocals, guitars, keyboards)
– Luke Fabian (bass)
– Sofia Sourianou (vocals)
With guests:
– Chris J. Allan (drums)
– Matteo Bianciotto (guitars)
– Alexander Brown (guest solos)
– Dane Cross (vocals)
– Jack D’Arcy (synths)
– Dyana F. (bells, percussion)
– Oli Genn-Bash (alto saxophone)
– Amber Marie (spoken word)
– Scott McLean (piano)