Italy is synonomous with a lot of things, and one of those is power and progressive metal. It never ceases to amaze me the sheer number of quality bands and releases that have their roots in Italy. Such is the case with Italian progressive/power metal band Walls of Babylon, who released their 4th full length, and first since 2022, “Aeons Apart,” on January 9. Their previous album, “Fallen,” was a prog/power dystopian concept album where a plague known as “The Fall” caused the brain to shut down rational thinking, pushing humanity to the brink of extinction. How do you follow a story like that? By taking a novel approach to a concept album, telling 8 individual stories that are literally “Aeons Apart” as the title of the album proclaims, disconnected by time and personas but thematically connected by the final story unmasking the fantastical imagination of one who seeks to escape the doldrums of day to day life. The result is a mythical adventure spanning myriad milieus such as the dark ages, outer space, and so much more. 

So enough about the stories, how is the music? This is a fabulous blend of power and progressive metal, balancing the speed and driving approach of power metal with the technicality and meandering aspects of prog for an output that is very satisfying. Vocalist Valerio Gaoni has a strong voice, never too over the top but quite powerful, and he can hit the high notes when needed. I really like his direct aggressive approach, which fits the feel of the music well. The guitars are amazing, with shredding galore, speed riffing, and nice dueling harmonies. The drums are massive, rarely giving you a chance to breathe as they gallop ahead, but still showing up big when they do provide a reprieve. Each song does a good job delivering great melodies and killer grooves as it spins each individual tale, building a collection of songs that are powerful and in your face. You can definitely hear Symphony X influences at times, and I occasionally get an older Evergrey vibe, with the killer melodies and technical prowess. I would say this biases more toward power than prog, but the prog itch gets scratched regularly.

“Silent Guilt” flies out of the gate with a nod to old school metal with its opening riff, then settles more into a power prog vibe with its driving drums and guitars paired with keys. I love the melodies on this song, from the emphatic verses to the anthemic chorus, all driving and powerful. The narrative approach of the lyrics is very obvious, and the way the song has been composed makes this vocalizing approach work quite well, a theme that is common throughout. And if you love guitar solos, there are plenty, and wow are they fantastic!

“Eternal Hunt” has a brief somber start before sprinting ahead, doing a good job of shifty tempo and rhythmic changes to add some light prog flair to the power metal packaging. The pre-chorus and chorus are super singable, with a drum gallop underneath and a plea of getting “free from the darkness,” providing an emotional connection to the story being told. The guitar work again is phenomenal, with plenty of shred to make you smile. This is easily one of the top tracks.

“Tales of Luminescence” has a phenomenal guitar-driven intro, a killer groove, and a chorus that is quite memorable. The faster mid-pace never really lets up, and I love the rhythm of the late bridge into the final guitar solo before closing out with a final chorus.

“Ashen Hero” has a sweeping, big guitar-driven opening, powerful verses, and a massive chorus. It embraces a more prog power feel, navigating between faster power forward sections and more melodic and technical sections that break the flow up nicely. Walls of Babylon really knows how to deliver an extended guitar solo, with this song being no exception, but they manage to keep them fresh song to song. The melodies here are so catchy, and I find myself humming the chorus long after I have finished listening.

“Starblight” has a cinematic feel and embraces a narrative-forward approach lyrically. This song is more mid-paced and has a proggier feel at times with the varied textures it interjects, but the powerful drumming maintains its heft. The guitar solos are a bit more delicate and not quite as over the top as previous songs, but they match the song’s vibe well. And if you have read enough of my reviews, you know I am sucker for a late key change!

“Once Again” leads you to believe it will be a power ballad with its gorgeous acoustic guitar intro and luscious melody, and then it says “just kidding” as it sprints ahead! Walls of Babylon does a good job interleaving ominous piano and varied guitar rhythms to pair up with the pounding drum and thrashy guitar assault, and the chorus is catchy and hopeful. The late dynamic and tempo contrast after the guitar solo gives you a chance to catch your breath before the finale.

“Lies to Gold” is the longest track on the album, clocking in at just over 7 minutes, allowing the band to more broadly explore musically while allowing the lyrical narrative to breathe. It has a pervasive driving groove surrounded by symphonic atmosphere and blends powerful precision, rhythmic shifts, and blazing speed to craft an immersive prog power journey. The guitar solos are shredtastic, and I particularly like the vocals due to how well they meld with everything going on around them, functioning more as an instrument at times. This is another favorite on the album.

“Blood for Blood” almost feels like it could have appeared on “The Offering” by Lords of the Trident from a lyrical standpoint, including the emotive feel of the chorus which I absolutely love. Musically there is a lot going on, scratching the prog itch without skimping on the power. The melodies are fabulous, as is the driving groove which will get your head banging before you start to gallop. I love the dialogue feel of the lyrics, dropping you right in the midst of the action as the story unfolds. And of course the guitars are fantastic!

Closer “Epilogue” finally introduces us to the protaganist of the album, the fantastical inventor of each story seeking escape from reality. It is not officially the title track, though “Aeons Apart” is the key theme in the chorus, and what a chorus! It is soaring, anthemic, and an earworm. Ironically enough, this is the most accessible and straightforward of every song on the album, and yet I believe it serves as the perfect closer with its energy and excitement.

I really enjoyed this album, and it sets a great early in the year bar for what quality prog power sounds like. You need to check this album out, and I look forward to see what these guys do next! Seeing them live is definitely on my bucket list.