The instrumental intro track, ‘Singularity’ is a grand and sweeping piece of post-metal that builds atmosphere and tension, so it’s rather a pity, then, that ‘Deadbyfiveoclock’ which immediately follows is rather ordinary – until it breaks into some kind of stomping punk-folk after the epic guitar solo, when it at least does something unexpected.
It soon becomes apparent that BMS fulfil their progressive remit through stylistic diversity: the seven and a half minute ‘The End of History’ has a poppy accessibility in places, but there’s plenty of driving guitar and powerhouse percussion, too, locating it somewhere between ‘Six’ era Mansun and Deftones. ‘Irons in the Fire’ features some molten metal riffage at its climax. The title track is nothing if not ambitious: spanning five separate parts, simply numbered I-V.
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There’s a hint of Oceansize about it, but BMS’s sound is heavier, more metal, and the vocals shoutier, punkier, and this is nowhere more evident that on Part I. Part 2 is a softer, more meandering instrumental that has post-rock leanings and a guitar break worthy of Pink Floyd. Indeed, the album wanders increasingly into more ‘conventional’ prog territory toward the end, a rolling piano beneath the expansive mid-tempo musings. Thankfully, ‘ Something from Nothing’ manages (for the most part, at least) to avoid the worst of prog-rock pomposity and succeeds as a solid and ambitious album.
author: Christopher Nosnibor
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