Italian band Beriedir released their first EP in 2015, and they released their third full length, “Liminal Spaces,” earlier this year. I am admittedly not familiar with any material prior to this album, though my understanding is that they had a much heavier power metal influence in their earlier music, with this album marking a stark shift for them. With “Liminal Spaces” being my only context, all I can say is that I love their sound. Beriedir crafts modern progressive metal anthems spanning a variety of musical textures, blending in djent, melodeath, power, funk, soaring vocals, earworm melodies, terrific technical musicianship, and smart song structures that keep you on your toes. They can absolutely crush you with hefty guitar riffs and powerful drumming, while also pulling back with softer sections featuring guitars, bass, and piano. Keyboards are quite prevalent, creating a moody atmosphere and adding a synthy industrial edge at times that I love, and the bass gets featured a number of times, showing off flexibility and deftness. Lead vocalist Stefano Nüsperli has a broad vocal delivery, able to go back and forth effortlessly between his clean and extreme vocals, all while adding an emotive edge that adds depth. The band utilizes contrast in dynamics and tempo very well, keeping each song musically interesting and fresh as it progresses. I definitely get some Vola and TesseracT vibes at times, but Beriedir’s blend of musical influences ford their own sound across the river of metal.

A liminal space represents a boundary between two separate states and can manifest both physically and psychologically. These spaces can evoke varied emotions depending on the type of transition and context surrounding it. This concept is a perfect title for this album, with the songs exploring various stages of struggle both emotionally and mentally. The music does a great job bringing this to life through its exploratory richness, allowing the listener to connect in a more personal way.

The album kicks off with a nice keyboard / guitar atmospheric intro on “Halo,” quickly showcasing Nüsperli’s versatility with an almost goth-like croon on the verses, a big soaring chorus, and well-placed growls. You get keyboard lead over galloping drums, a short laid back section that gives off light jazz vibes, plenty of heft, and a nice outro. “Neon” balances heavier djenty sections with moody atmospheric vocally-driven sections and a big melodic chorus. The fluctuating vibe keeps you a bit off balance but never tips you over, keeping things cohesive while allowing some meandering.

“In the Corner of My Eyes” is one of my favorites, starting out with a somber synth intro before punching you in the mouth and getting heavy fast. The chorus plays homage to the band’s power metal roots with its almost Judicator-like majesty. The melodies are melancholic and powerful, the riffs rhythmic and punchy, and the synths add great atmosphere. “As Tight As Phantoms Hold” is another favorite. It is one of the heavier songs on the album, with driving drums and guitars, atmospheric keyboards, and a big anthemic chorus. The song just has a massive feel, navigating dynamic and tempo shifts expertly, building to its fantastic finish, all while crafting an emotional bond with the listener.

“F.I.V.E.” has a synthy industrial feel over a proggy underbelly, featuring the keyboards as a primary lead instrument. “More Than Starlight” sort of feels like the token “ballad” with its pervasive moody pop vibe, starting with the unique intro that gets reprised late. It adds plenty of texture, including some speedy sections, light funk, and some well placed guitar lead to keep you on your toes.

“Burnout” might be my favorite song. This song epitomizes the dichotomy between calm and chaos, a foil in ways to the album’s journey. There is a lot of cool djent and rhythmic action as well as a massive chorus, crushing drums, and melodeath flirtation that adds an extra heft to the song. I am in love with the brief bass funk section midway that leads to a crushing breakdown, breaking things up nicely and eliciting a solid headbang before getting into a bombastic dueling vocals section. The atmospheric stripped down section immediately following is another shift from chaos to extreme calm, building to a beautiful atmospheric guitar lead driven outro.

“Anemoia” features a killer underlying keyboard melody that supports driving bass and a great syncopated attack, balances moody cleans with aggressive harsh vocals, all stitched together with a melancholy atmosphere. The late extended rhythmic instrumental section is satisfying, leading to a somber finish. “Massive” is appropriately named, as it definitely feels massive with its bombastic chorus and crushing grooves. “In the Liminal Space” is the “not quite title track” title track, an orotund opus that navigates its progressive landscape well, giving another master class in simultaneously creating chaos and calm. There are so many rich textures to this song, and it sums up the album nicely.

As I mentioned at the beginning, I cannot speak for earlier material, but I love where Beriedir landed with “Liminal Spaces,” and I look forward to seeing them further explore this direction. It is a great prog metal album with lots of variety, and I strongly recommend it.

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