Review: TEMIC – Terror Management Theory

Style: Progressive Metal, Electro-Prog (Clean vocals)
Recommended for fans of: Haken, Devin Townsend, Caligula’s Horse, Dream Theater, Frost*, The Algorithm
Review by: Christopher
Country: Norway/International
Release date: 17 November, 2023

It’s a cosmic event, something to be viewed through the Hubble—or the Kepler or the Webb—with a sense of awe. As immense physical forces come together, an astonishing act of synthesis takes place: mechanical waves of vibration, sonic gravity, amplificatory electromagnetism: all three come together in a flash of light and an implosion of such force that its echoes reverberate around the galaxy. This is the formation of a supergroup. 

Roll call! On vocals we have Fredrik Bergersen of Maraton and 22, on guitars and backing vocals it’s Eric Gillette of The Neal Morse Band and Mike Portnoy’s Shattered Fortress, handling drums and percussion it’s Simen Sandnes of Shining and Arkentype, and on keyboards and tackling sound design we have Haken alumnus as well as a player with Devin Townsend and Mike Portnoy’s Shattered Fortress, Diego Tejeida. Introducing TEMIC, and their debut album Terror Management Theory.

Tejeida’s inimitable keyboard and synth work, familiar from Haken, define the enormity of TEMIC’s sound. Whether it’s the huge synthwave vibe that opens “Skeletons”, those enormous dubstep-esque synths on “Through the Sands of Time”, or the urgent, echoing siren running throughout “Once More”, this suffusion of electronica provides the pulse around which Terror Management Theory is composed. That’s not to sell the other players short. Bergersen’s range is impressive, from gossamer softness to belting it out, his mellifluous performance another crucial facet of TEMIC’s design. Eric Gillette’s guitar work is sublime, his soloing a gorgeous blend of melody and shred, his riffs calling forth Caligula’s Horse’s relentless gallop. He’s aided by Jacob Umansky of Intervals (credited as a guest musician) who contributes some thick and unexpectedly funky bass work. 

There are so many fantastic moments and ideas to highlight that I could spend the rest of the review doing just that: Bergesen’s portentous falsetto on “Paradigm”; Tejeida’s solo on “Acts of Violence”, the tone and manic shred of which had me pulling some rather aroused expressions; Gillette’s brief, chaotic solo on “Paradigm”, Sandnes’ rather brilliant drum-and-bass-style percussion on “Once More” (a very intriguing continuation of that foundational electronica influence); Umanksy’s Haken-esque funk groove on “Skeletons”. The production, too, glistens, Tejeida’s many layers gleaming, and Sandnes’ drum work in particular rendered fantastically by the mix, every beat felt in the soul. Every track has a solid identity, an earworm to recommend it, and a moment to blow your mind.

But what’s best is the interplay between each member. Take Gillette’s effortlessly gorgeous solo on “Through the Sands of Time” for example. It’s clearly an amazing solo, but the rhythm section is the real revelation here: Tejeida’s judicious use of glistening keys and Sandnes’ unexpectedly groovy drumming elevate something fantastic to something transcendent. Meanwhile, closing epic “Mothallah” might well be the highlight on a record chock full of ‘em: epic and progressive with huge atmospheres, Bergersen delivers his best performance helped by not one but two choirs, all of which contribute a Devy-esque sense of layered awe to proceedings.

My one small complaint is that TEMIC are a product of a specific sound that has come to engulf the progressive metal mainstream, one best known from Tejeida’s former band Haken. TEMIC are very, very good at it, but it’s the differences—the electronica focus, the layering of atmospheres, the more creative percussion work—that prove far more interesting than the occasions upon which they lean on the seemingly requisite djenty chugs of their progenitor genre. That doesn’t happen too often and there’s a deft lightness in TEMIC’s compositional style which harkens back to the synth-heavy neo-prog of Frost*, but the moments of that more generic modern prog metal sound do sneak in and they’re the least interesting bits. In future, I’d love to hear TEMIC differentiate themselves further and make the electro-prog sound wholly their own. 

When the talent attached to a project is this strong, expectations will be out of this world. Fortunately, Terror Management Theory is as astonishingly accomplished a debut as anyone would expect from these prog luminaries. TEMIC are on the fast track to prog stardom: I’m sure you’ll be seeing them on album of the year lists and winning best debut awards, and it’ll be deservedly so. There’s a new star in the prog skies, adjust your celestial maps accordingly.

Recommended tracks: Through the Sands of Time, Acts of Violence, Mothallah
You may also like: Turbulence, Kyros, Arcane, The Stranger
Final verdict: 8.5/10

Related links: Bandcamp | Spotify | Official Website | Facebook | Instagram | YouTube | Twitter

Label: Season of Mist – Bandcamp | Facebook | Official Website

TEMIC is:
– Fredrik Bergersen (vocals)
– Eric Gillette (guitars, backing vocals)
– Simen Sandnes (drums, percussion)
– Diego Tejeida (keyboards, sound design)