The release of Advent Horizon’s fourth album, Falling Together, finds the band in an introspective mood. If you think that translates to sappy ballads and mordant MOR, you would be wrong. As heavy as any of their previous releases musically, the album looks inward lyrically to tackle matters of faith and belief and stepping outside of the rigid systems that require toeing the line. As vocalist/guitarist Rylee McDonald notes on the band’s website, the “songs have been a look inside myself. An introspection into my past, my present, and my future. An attempt at putting into words my feelings about my religious upbringing and my gradual path away from organized religious beliefs…” The intent was not to “pull people away from their religion, but rather to encourage listeners to look outside the bubble that they were born into and take in all the amazing possibilities that this world has to offer.” That’s a difficult tightrope to walk, with offense eagerly willing to be taken at either end, but McDonald and company do an admirable job of making the intensely personal fully universal.
As if afraid to waste precious time, the album opens with the nineteen minute epic, In A Lone And Dreary World. Drums and electric piano create an introspective – but wary – atmosphere into which McDonald’s plaintive vocals venture, making his doubts plain from the start. It is not until the second verse that the band kicks into gear. The music becomes edgier and more intricate, with the keyboards taking a co-starring role beside the guitar. Kristen McDonald handles the vocal duties on the third verse and the music is not as jagged as broken glass, but the aggressive approach is never too far away and returns as the lyrics speak of beginning to see the forest for the trees. As the lyrical intensity grows, so does the music. The guitars crunch, drums thunder, and the bass piledrives deep into the narrator’s psyche.
Eventually things break down for a few moments of relative peace (is it reflective of doubt or the fear of breaking away?), but as in any good epic, the music morphs and themes return. Through it all, there is a sense of anger, of having felt misled (Still something deep/Some menacing doubt/Keeps telling me/You have to get out). An acoustic guitar break twelve minutes in feels welcome but full of trepidation. That section is followed by drummer Mike Lofgreen’s cookie monster vocals, and the juxtaposition is startling but not without merit as it opens the song to more metallic riffing. More female vocals and twin guitar leads lift the song to its climax. As the song concludes, the music and lyrics both take on an air of comfort with having broken from the box, saved and sound.
Faith’s Window takes a lighter approach, bright guitars and helium high vocals both relying on strong melodic ideas to get the point across. As the tension builds, the vocals follow suit, leading to another round of heavy metal growling which relays the emptiness felt (Empty/In the arms of the one you love/Hiding something you’re ashamed of). Kristen McDonald’s strong voice carries the song to its conclusion, allowing that a sentiment of hope and trust in love will win the day (I’m willing to let go of Heaven and halo/I’d give it all up for you). Keys, guitar and drums all punch their way through the introduction to Patience. When the vocals arrive, they are accompanied only by an acoustic guitar which sounds no less impatient. Eventually, the power chords from the opening return with a heightened sense of urgency. While the blended male and female vocals might lend a sheen of commercialism, the heavy metal riffs keep the song in darker territory. The liberal use of synths and other keyboards throughout add depth and a respite from the guitar onslaught. The vocals are the focus of much of this album, but particularly on Past-Life Parable. The arrangement gives the song more breathing space, and Rylee McDonald responds by stretching out with some of his finest singing. The rest of the band support him with a wonderful mix of clutter and open space before eventually succumbing to the siren song of metal. While this might sound like the music is disjointed, it is not, as all the pieces fit together like a sophisticated puzzle.
A deceptive Gravity I begins with luscious acoustic guitar, but it isn’t long before the band joins in and alters the flavour of this instrumental tune. Those changes, however, do not detract from the melody, and the song is a bright spot on an album full of disillusionment. Gravity II, on the other hand, returns the band to the land of riffage and tumultuous drumming. The catchy melody manages to rise above the fray, but it is the short melodic instrumental accents that carry the song. I do wish the keys were a bit more forward in the mix, but while the heaviness can be daunting at times, it fits the lyrical content like a glove.
Falling Together ends on a hopeful note. Animals eschews the metallic bluster for atmospheric introspection. The band does not overplay its hand, wisely allowing the subtle approach to lift the song on its own merits. Cason Wood’s bass is especially tasty, the guitar solo concise and emotional. The synths burble and drone, holding the song in a tight embrace, a protective cocoon from excess, making this song the album’s most successful tune.
Falling Together is thinking man’s metal in the way that Queensrÿche was in its heyday. There is much to enjoy here, from the base pleasure of relentless riffing, to the mélange of styles woven through the tapestry of songs, to the obviously personal/emotional journey described in the lyrics. The sound is clear and precise and the performances noteworthy. I did not expect this from the band I saw at Progstock, hamming it up for the crowd with the enthusiasm of libidinal teens. Goes to show that when you write and perform from the heart, you can win over even geezer skeptics like me.
TRACK LISTING
01. In A Lone And Dreary World (19:03)
02. Faith’s Window (5:19)
03. Patience (4:52)
04. Past-Life Parable (5:02)
05. Gravity I (2:34)
06. Gravity II (4:48)
07. Animals (5:34)
Total Time – 47:12
MUSICIANS
Rylee McDonald – Vocals, Guitars, Keyboards, Percussion
Kristen McDonald – Vocals
Grant Matheson – Guitars, Vocals, Keyboards
Cason Wood – Bass, Fretless Bass, Synthesizers, Electric & Acoustic Pianos, Organ, Hand Claps
Mike Lofgreen – Drums, Percussion, Screams
~ With:
Zach Boorman – Guitar, Piano, Synthesizers, Backing Vocals, Percussion
Doug Robinson – Guitar (1)
Cressa McDonald – Background Vocals (7)
Griffin McDonald – Background Vocals (7)
ADDITIONAL INFO
Record Label: Independent
Country of Origin: US
Date of Release: 15th May 2026
LINKS
Advent Horizon – Website | Facebook | Bandcamp | YouTube | Instagram
