Style: Progressive metal, progressive death metal, technical death metal (mixed vocals/mostly harsh vocals)
Recommended for fans of: Obscura, Beyond Creation, Opeth, Gojira, Mastodon, The Ocean
Country: France
Release date: 28 August 2026

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2026 has been an exceptionally good year for prog. Still into September, I could already assemble a top 10 that any other year would be proud of. Yet ever the greedy human, I couldn’t help but feel something’s missing: I’ve been yearning for a kickass classic prog death release that isn’t tech, old-school, or brutal. My deliverance may come from an unlikely place. Tech death heavyweights Gorod have always distinguished themselves from their contemporaries—who often try to one-up each other in speed, brutality, or technical wankery—with playful interludes and rich soundscapes textured with well-identifiable prog influences. The Ember Gone sees the band explore those prog influences in even greater depth, as tech death is relegated from “defining” to “just another” aspect of their sound. Now, a change in style is always risky business, and for every Crack the Skye, there is a Heritage. The question thus stands: are Gorod’s creative fires still ablaze, or is the ember gone? Let’s find out!

Now before you freak out, Gorod hasn’t gone soft—far from it. The integrated power of The Ember Gone‘s intensity spectrum is still substantial; however, it’s distributed over a wider bandwidth rather than concentrated in massive amplitudes. In less geeky terms, instead of alternating between extremes, the contrasts within the composition let Gorod traverse a dynamic soundscape, keeping the intense parts more accessible while the calmer parts still remain exciting. Arachnid fretboard acrobatics zig-zagging over machine-gun-fire drumming are replaced with almighty grooves and rhythmic strumming, post-metal build-ups, tapping leads, and convoluted, sludgy riffs. Heaviness also stems from the themes discussed on The Ember Gone, such as environmental and societal collapse, personal responsibility, and political hypocrisy. In good French tradition, “Remains” ends the album with a call for revolution in a fittingly grandiose conclusion.

The Ember Gone is more than just doom and gloom, though; moments of levity are dispersed throughout the record. Yet, the contrast between such uplifting moments and their wider context infuses them with a touch of irony. This contrast may emerge from agitated drum patterns, uneasy harmonies, the main melody deviating from the classic minor scale, or all the above, such as in the slightly Cynical-sounding instrumental “Crimson.” Another source of this ironic feel can be the contradiction between a segment’s tone and the song’s subject matter. However, the frustration such upsetting themes incite, like the ones listed in the previous paragraph, makes the release of when Gorod hit you with full force truly cathartic.

The strong atmosphere is held up by—more or less—equally strong performances. The Ember Gone features mostly harsh vocals that convey more feeling in a few tones of “shouting” than the average power metal singer does in two octaves. In comparison, the cleans come across as a bit of an afterthought: not bad, and they get the job done, but do little to impress. The drums, on the other hand, are stellar throughout. Syncopated grooves and shifting time signatures lay down a strong rhythmic foundation for the record. What makes the drumwork particularly remarkable is that, despite the intricate rhythm patterns, the music remains surprisingly danceable—which, oddly, is one of my favorite qualities about death metal. Similar praise should be dispensed on the guitars. The Ember Gone drips with quality riffage, rooted in Opeth‘s classic era, creeping through whirling sludge and grinding grooves, branching into alternately picked finesse. Interspersed among the riffs are masterfully phrased solos that capture your soul with heartfelt melodies just as much as your mind with sweep-picked arpeggios and neoclassical shredding. Unlike the flashy guitars, the bass is more subtle, making its presence felt rather than known. Still, if the drums serve as the backbone of Gorod’s composition, the bass is its beating heart. A highlight of this rhythmic synergy is the polyrhythmic buildup of “Forgiveness,” making the subsequent payoff all the more rewarding.

My main criticism of The Ember Gone, ironically, is also its biggest strength: the record sounds like an amalgamation of many of my favorite bands. The riffs in “Devise”, for example, could very well find their home on My Arms, Your Hearse, while the post-metal atmosphere of “Forgiveness” is as deep as The Ocean. “Regret” sees Gorod embracing their inner Mastodon—the ever-evolving guitar leads constantly folding on themselves sound like something conjured up by the late Brent Hinds—and being reminded of a certain kaiju is all but inevitable when you hear tapping riffs. To their credit, Gorod never go beyond tasteful homage and successfully make borrowed ideas their own. Anyway, it’s hard to complain when the final product is this engaging.

Ultimately, your appreciation of The Ember Gone will depend on your expectations. Those expecting a traditional tech death album or hoping Gorod will expand on the more aggressive aspects of their sound will probably be disappointed. I, on the other hand, find the band’s new direction an absolute delight. When judging heavy music, I match it against two criteria. One: the wilder sections are as inspired and exciting as the chill ones. Two: the harsh vocals express more than just a desire to be heavy for the sake of being heavy, and the composition wouldn’t work without them. The Ember Gone succeeds on both accounts. While previous Gorod records usually exhaust me by the end of their runtimes, I can listen to this one on repeat—and I do. Meet The Ember Gone on its own terms, and I’m sure you’ll find it similarly enjoyable.

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Recommended tracks: Forgiveness, Regret, Remains
You may also like: Alkaloid, Changeling, Blindead 23, Coma Control, Soreption, Augury
Final verdict: 8/10

Related links: Official Website | Facebook | Instagram

Label: Base Productions / Season of Mist

Gorod is:
– Julien Deyres (vocals)
– Mathieu Pascal (guitar)
– Nicolas Alberny (guitar)
– Benoit Claus (bass)
– Karol Diers (drums)