Hailing from the gothic metal hotbed of the Netherlands (Within Temptation, Stream of Passion, Epica, After Forever to name a few), Delain was formed by Within Temptation keyboardist Martijn Westerholt who added the eye candy and vocals in the form of former To Elysium vocalist Charlotte Vessels and some metal cred with Detonation bassist Otto Schimmelpenninck. Not only that, he brought in a host of respected gothic metal guest musicians including two of the genres matriarchs Liv Kristin (Leaves Eyes) and Sharon den Adel (Within Temptation), Marco Hietala (Nightwish, Tarot) and Ad Sluijter (Epica) to name a few.

As burned out on gothic metal I’ve become as a reviewer (thanks Napalm Records), Lucidity, even for a four year old album, is an easy standout within the genre. Amid its 11 songs (not including the bonus tracks for this re-issue) it has 4-5 killer songs that capture the essence of the genre perfectly. The first standout is “Frozen” where all three sirens help deliver a sumptuous track of somber elegance. “Silhouette of a Dancer” has a solid chunky riff and some death metal growls (which surface a few times throughout the album) while “Shattered” is a bouncy upbeat number. “The Gathering” starts with a rousing multi-vocal chant, while “Sleepwalkers Dream” has a mind-rendingly beautiful chorus. Of course, all of it is laced with epic orchestration and the competent, but restrained, operatic vocals of Vessels and Co. There is the requisite and also generic ballad in “See Me in Shadow” ― not surprisingly the album’s blandest cut. “Pristine” ends the ‘regular’ album with a perfectly structured chorus surrounded by death growls and lush orchestration.

For this digipak-reissue , Sensory has added a version of “Frozen” with added death metal vocals (originally a Japan-only bonus track) as well as delicately elegant acoustic versions of “Frozen”, “Silhouette of a Dancer” and “See Me In Shadow”. Then there’s also a version of “No Compliance” with just Vessels as opposed to Kristin and den Adels’ version from the regular album, but to be honest I really could not tell the difference.

In all, even four years later, Lucidity is about as good as it gets for the genre. The bonus tracks aren’t anything special, but the acoustic numbers are nice and the album alone is worth it if you didn’t pick this up the first time around.

Don’t come here looking for short and sweet hooks. You won’t find them and you’ll end up lost in a wicked, woven labyrinth of creepy melodies, atom-smashing heaviness and triple-jointed musical dexterity. Enter at your own risk, miss at your own peril.

There are the good things that I remember from the first record, like the edge of madness freak out that opens the tune “Abyss,” but my first impression of Isolate was that it had followed the Dream Theater sound-alike path that so much prog metal does these days. So, while a song like “Abyss” or the instrumental “Sane No More” provides some musical excitement, songs like “Arrival of Love” and the ballad “Zero” are more of a yawn. If you’ve listened to much prog, you’ve heard them hundreds of times.

On the slower side of things, “Mouth of Madness” provides a high point, opening with vocalist Michael Eriksen singing over a mournful acoustic guitar. A spacy synth line comes in as the song builds to a nice, heavy crescendo. The first electric riff of the song is a perfect example of when Circus Maximus is at its best – when they’re doing these bouncy, slightly unbalanced riffs that kind of break them out of the Dream Theater mold.

I was also somewhat disappointed by “From Childhood’s Hour,” the title of which immediately interested me. Based on my favorite poem, Edgar Allan Poe’s “Alone,” the song really fails to capture the melancholy nature of the poem. It’s too happy and doesn’t manage to convey the underlying insanity, which is strange, considering that mood is what the band does best.

Isolate ends solidly with “Ultimate Sacrifice,” but leaves me longing for more of the edgy, heavy riffing and less AOR influence. The musicianship, as on their first effort, is superb, and Circus Maximus probably still ranks as one of the best of the current crop of prog metal acts out there. It’s a solid enough release, but one that leaves me thinking about those cool riffs and wondering what it might have been like if they’d filled the record with them

Now, let me clarify Zero Hour’s definition of “prog metal.” There is absolutely no, I mean no, European power metal influence on this record. Not that there’s anything wrong with that (as aptly proven by the mighty Symphony X), but the world just didn’t need that again. Nor are we presented with yet another attempt at blatantly copying Dream Theater’s style. If there is any one band one can point to as Zero Hour’s closest relative, it would probably be Fates Warning. But even that comparison wouldn’t be totally accurate.

I’m reminded of Spiral Architect and the legendary Watchtower with all the syncopation, odd-time and signature changes that run through every moment of this disc. Drummer Mike Guy is simply inhuman, at times. His double kick-drum skills are relentless, and his feel for odd time is impeccable. Troy Tipton’s bass is cemented to Guy’s drumming with a round, tight tone and heavy bottom end. Guitarist Jasun Tipton really stands out as a major talent here. Combining the minimalist, melodic riff style of ’90s-era Jim Matheos with dynamic lead technique he helps create a deep, emotional landscape of sound.

Where many bands seem to fall short at times, Zero Hour excels with an exceptional vocalist. Erik Rosvold has a thick, melodic, powerful voice that delivers the lyrics with authority and conviction. His melodies are passionate, his harmonies are intense, and his tone is rich and soulful. Rosvold also serves as the bands keyboard player on this release adding dense, atmospheric synth tones.

For me to try and describe the songs individually would, I feel, do The Towers of Avarice a great injustice. This album has more gripping melody, intricate dynamics, stunning musicianship and unbridled intensity than I have heard from an American band in several years! Highlights include the musically staggering “Stratagem” whose 2-plus minute intro alone is worth the price of admission! Also, the somber yet riveting “Reflections” with it’s arid clean tones and captivating vocal melody. The 15-plus minute “Demise and Vestige” must be heard! The emotional journey that the band takes the listener on with this song is an epic one full of stratospheric peaks and desolate valleys.

To sum up, you need to go buy this record now! Zero Hour are quickly closing in on the reigning “Holy Trinity” of American prog metal (Dream Theater, Fates Warning and Symphony X) and are already establishing themselves as legends in the genre.