Review | Imminent Sonic Destruction – Floodgate

Independent Release

Imminent Sonic Destruction unleashed a sonic whirlwind with ‘Floodgate’!

Consisting of a stellar line up the Michigan outfit features Tiles’ Pat DeLeon (drums),  Space Nelson’s Pete Hopersberger (keyboards/vocals) and Tony Piccoli (guitars/vocals) alongside Without End’s Bryan Paxton (bass/vocals) and former Entransiant’s Scott David Thompson (guitars/vocals). Revealing their progressive roots instantly, the band pushes in different directions. From the very first second, it’s clear this album isn’t just a collection of songs but a carefully crafted masterpiece where musicianship and emotion constantly challenge each other. This Detroit-based band proves that progressive metal is very much alive!

RHYTHM SECTION

The rhythm section is nothing short of impressive. The bass lines slither through the compositions like a prowling serpent, never content with merely supporting but always seeking melodic depth and rhythmic tension. It’s as if Paxton is telling his own story, intricately woven with the rest of the band, constantly surprising with unexpected accents and subtle grooves. Growling and biting, the bass ploughs in between the drums and scorching low tuned guitars. The drums are equally phenomenal: powerful, dynamic, and executed with a finesse rarely heard. Every fill, every roll, every break hits the mark and adds an extra layer of intensity to the whole. It’s clear the DeLeon understands how to elevate a song to the next level. His Tiles tone darkened, his rich interplay at the helm, the songs gain progressive momentum with every beat and hit.

GUITARS AND KEYS

The guitars deserve their own chapter. Riffs cut through the mix like a scalpel, while the solos take you on a journey from melancholy to ecstasy. The layering in the guitar work is admirable: from brute force to whisper-soft melodies, everything flows seamlessly. The interplay between Piccoli and Thompson creates a wall of sound that is both massive and transparent, allowing listeners to discover new details with every listen. Deployed riffs are chugging thrashy, while the melodies pin the elemental melancholy of the songs. The keys supporting, drizzling in and jabbing through the density of the guitars, Hopensberger injects a unique tone into the melancholic and heavy bliss of the tracks. Especially on ,,The Game” he asserts his dominance without disrupting the scorching wall of guitars. Subtle piano strokes well with emotion while his synths meander through the cinematic atmosphere.

NO NEEDLESS NOODLING

What truly makes ‘Floodgate’ special is how Imminent Sonic Destruction put their technical prowess wholly in service of the greater narrative. There’s no needless noodling here; every note, rhythm, and chord serves a distinct purpose, discharging intrinsic emotion. The songs build towards immersive climaxes where emotional impact is as vital as musical fireworks. The band’s vocal interplay is a masterstroke: exchanging duties and harmonizing on bridges and choruses, the delivery hits home—sometimes raw and growling, other times fragile and vulnerable. Beatles-esque harmonies shimmer through, while the core of the vocals is as metallic as hell itself.

Just listen to the opening title track, ,,Floodgate I” or the low, droning ,,Memento Mori’’. The vocals are exactly what the story demands, commanding attention and soaring in melancholy. ,,The Light at the End of the Tunnel” cements both melancholy and agony, funnelling singer-songwriter intimacy before the chorus detonates like a grenade—guitars scream, keys drizzle melodically, and the vocals are clean and sober.

SOUNDSCAPES

Every track lands with tremendous impact, offering wonderful soundscapes and interplay. ,,Find Center” is fragile and unsettling in its vocals, while the bass line propels it forward. Like a tractor, it drags the song into a rifting chorus, guitars building alongside to a climax of screams and guttural outcries. The agony is underscored by jabbing piano and humming vocal harmonies, with the bass dominating in the absence of guitars. The engine is constantly revving, making the song a heavy hitter with restrained explosiveness, expertly guarded by DeLeon’s shifting rhythms.

DeLeon showcases his skill by rattling a light marching stance beneath the low-end bass, while the vocals are sober and crooning in a Hetfield-esque fashion. The song is a slow burner, gradually building its tormenting agony.

ROY Z

Roy Z’s production is crystal clear and powerful, never sterile. Each instrument shines, yet the overall sound remains organic and alive. Heavy and bold, it presses on the core of the band’s darker edge. This is an album that begs to be played at full volume, letting the band’s energy and passion fully erupt.

Closing on a high, ,,Floodgate II” is the epic prog rocker clocking in at over 13 minutes yet never dull. It unites classic neo-prog with modern prog elements cementing it in its modern progressive metallic foundation, maintaining a fresh and contemporary vibe. The track goes all in, discharging immense power, and seamlessly loops back into the opening chapter, inviting infinite repeat listens.

IMMINENT SONIC DESTRUCTION – THE CONCLUSION

‘Floodgate’ is a triumph of musical craftsmanship, per say! An album that impresses technically and emotionally. Imminent Sonic Destruction proves that progressive metal still has plenty to say and puts an exclamation point to their statement. This is a record you’ll want to experience again and again, searching for new layers, new stories, new emotions. Rich in texture and sonically laden, this is an album to experience. An absolute must-listen for anyone who loves music that touches both the mind and the heart.

Release date: 25 April 20025