Style: Progressive metal (Mixed vocals, mostly clean)
Recommended for fans of: Circus Maximus, Dream Theater, Seventh Wonder, Symphony X
Country: Norway
Release date: 30 January 2026

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When I first ventured onto dating apps some years ago, one of the personal tidbits I included on my profile was a burning desire to see a total solar eclipse in person. In 2024, I was finally able to do so, and while it was an incredibly unique and emotional experience, I don’t have much to show for it aside from otherworldly images burned into my memory of that impossible ring of silver fire (and some hasty updates to my dating profile afterwards). I could tell you all sorts of cliché things about how it changed my life, but it wouldn’t be the truth. My life hasn’t divided itself into periods of before and after the eclipse; it’s merely one more milestone in a long chain of gradual development.

Musicians’ careers follow a similar pattern of growth. We, as the audience, like to ascribe special significance or groundbreaking qualities to certain periods or albums, but most often in retrospect these supposed turning points still graph a slow, steady progression curve. Behind the Eclipse plots one of these potential landmarks for Course of Fate. Their prior two LPs have drawn inspiration more from the Symphony X and Circus Maximus side of things, building gothic spires in music form with their moody atmospheres and towering refrains. That same passionate delivery remains, but many of the guitar licks on Behind the Eclipse sound unmistakably like any John Petrucci riff you can think of from Train of Thought and beyond. Even more than most albums that would be viewed as Dream Theater copycats, the strong resemblance completely dominated my first impressions of Behind the Eclipse. But the question remains whether this clearly deliberate choice to draw on inspiration from one of the giants of the genre represents the final form for Course of Fate, or if they merely need more time to finish creating a uniquely authentic style of their own.

“Behind the Eclipse” dives in headfirst with a heavy, Petrucci-worshipping breakdown, joined later on by a solo section halfway through and an instrumental bridge at about the three-quarter mark that feel equally Dream Theater-inspired. Course of Fate’s songwriting as a whole feels far more mature after only a three-year break since Somnium, leading with their longest track to date and filling it out with an expanded arsenal of riffs that weaponize their heavier, more refined chugs for a more grounded and visceral feeling of intensity. Despite my outward dismissiveness about their inherited inspiration, Course of Fate are putting it to good use. Their discography thus far has been a little one-note, even if that note still resonated well. With Behind the Eclipse, they’ve spruced up their palette with new colors, adding subtle, moody atmospheres and virtuosic solos to their existing repertoire of high-strung emotion. Much like the title track, the closer “Neverwhere” builds on top of tried-and-true standards from the past two albums, piling on chunkier riffs and a finish of flashy guitar arpeggios. “Don’t Close Your Eyes,” meanwhile, offers a slow, gentle ballad for extra variety, featuring an extra focus on keyboards and soft cinnamon notes of mournful cello.

However, added variety does not always mean higher quality. With Course of Fate’s expanded repertoire comes a polarity shift in terms of which components hold the most appeal. For Mindweaver and Somnium, the most exciting moments tended to arrive during the choruses, the primary appeal being huge climactic moments paying off the emotional buildup of the preceding verse with a towering wall of guitar. Behind the Eclipse, though, fields its climaxes more in the verses and in instrumental bridges and introductions, often leaving the chorus as a weaker, repetitive afterthought to the rest of the song’s development. Really, this is the most authentic sign of a Dream Theater successor: virtuosic musical talent, grand ambitions for complex song structures, and a total inability to write a catchy chorus hook. Even “Acolyte,” one of the stronger songs overall, falls victim to the same monotony once the chorus rolls around and the, plodding, simple rhythms in the vocal part drain away all the energy built up by the preceding riffage. Also, although commendable as an experiment to take their style in new directions, the dashes of harsh vocals added to “Hiding From the Light” add little flavor. Despite the novelty, the screams don’t fit well with the overall tone of the album, and feel especially out of place due to appearing only on a single track.

Although Course of Fate seem to be courting Dream Theater comparisons more in their latest outing, they’ve also held tight to their own dark delivery burning with emotion that James LaBrie can only dream of. Sailing in Dream Theater’s wake inevitably inflicts both a blessing and a curse—a tradeoff of prestige and familiarity against the invitation of harsher criticism for any of the work’s foibles which might be viewed as overdone tropes of the genre itself. Behind the Eclipse receives a little of both bequeathals. It still abounds with the band’s signature moments of dark mystery and intrigue, but its distinctive features begin to run together after about the third listen. Much of the emotional impact is lost as a result, as the work becomes more of a collection of notable moments disconnected from each other with little lasting artistry for the audience to take away. Despite the audible maturation of Course of Fate’s sound, this stage of their artistic journey sees them drifting through the umbra of their predecessors. Although lost in the shadow of the eclipse for now, we can still hope to see them come out the other side before long.

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Recommended tracks: Behind the Eclipse, Acolyte, Neverwhere
You may also like: Black Fate, Darkwater, Psycrence, Anthriel
Final verdict: 6/10

Related links: Bandcamp | Facebook | Instagram

Label: Reigning Phoenix Music / ROAR

Course of Fate is:
– Eivind Gunnesen (vocals)
– Kenneth Henriksen (guitars)
– Fredrik Jacobsen (guitars)
– Per-Morten Bergseth (drums)
– Torstein Haakafoss (bass)