I think it’s safe to say that not many of us will miss 2021 any more than we did the year before. And I don’t need to go into the nearly uncountable reasons why. On the plus side, this past year saw a lot of incredible music come out, and the progressive, and experimental genres were especially fruitful. And on that level, next year is already looking very good indeed with the early January release of prog/symphonic metallers Wilderun’s new album ‘Epigone’ which with its flashes of folk, and death metal is already giving a flash of hope for 2022.

Guitarist and vocalist Evan Berry refer to an ‘epigone’ as “a follower or imitator or an acolyte of sorts, usually used in the context of art or philosophy,” and the album in turns deals with the artistic struggle of finding one’s own voice, and the personal frustrations, and struggles of being a creative artist. Inner turmoil and darkness of course have external factors, and the band (like everyone else on the planet) had their lives turned upside down. Resulting in an album written largely in isolation; until final tracking, when guitarist, orchestral arranger, and composer Wayne Ingram found himself at home in California, while the rest of the band gathered in Syracuse, NY. Such circumstances are hardly unique, but with an album as elaborate as this, it remains a noticeable feat.

The album starts off with the acoustic “Exhaler,” one of the shorter songs. The guitars and mellow baritone of Berry are soon joined with the orchestrated strings and the song lightly floats through its four-minute run time. Lyrically it deals with the singer’s place in a world that seems hellbent on going away, and feeling lost. It blends smoothly into the 14 minutes “Woolgatherer,” which retains its calm, until a couple of minutes in when heavier guitars begin to slowly make their presence known. The early portion of the piece is highlighted by strong melodies, and Berry’s vocal delivery, I find it a bit refreshing to hear a deeper voiced individual on a prog metal album these days. Jazzy drumming makes up the foundation along with the punchy basswork, setting the rhythm section of Dan Muller (bass), and Jon Teachey (drums). Closing near the 4-minute mark, things take a drastically heavier, and darker turn, as clean guitars, and vocals give way to deep growls, and pounding heaviness. The orchestrations continue on the top of the music, while the metal sits firmly underneath, giving an excellent juxtaposition of sounds, and themes, before just as smoothly moving back into less extreme metal territory.

With music as expertly crafted, and executed as of this, it would be easy to go song by song, as they all flow smoothly into each other, and are all worthy of discussion.  “Passenger” follows immediately, beginning much heavier, it builds to the more extreme aggression before pulling back a bit and giving the listener a needed breather. “Identifier” runs for over 11 minutes, and is a frequently thrilling ride between the progressive and symphonic side, and the heavier death metal that makes its way in. Overseeing all of it though is a strong sense of melody and frequent beauty.  Intelligent lyrics are blended with delicate folk-inspired guitar picking, and Berry’s voice gets stronger as the song, and album go along.

The album is capped off with a twenty-minute, four-part epic closer, “Distraction I-IV.” The piece is broken up into 4 different songs, which I personally find to be annoying, and unnecessary. Digitally at least there is a slight dip in sound between sections, causing unneeded division of what is after all a single song. Ultimately though quality takes precedence over such relatively trivial issues, and quality this song is in spades.

Beginning with simple acoustic guitar, the orchestration soon builds lushly in the first section, building slowly until some of the heaviest moments on the album come erupting forth. The whole album is a complex, frequently shifting blend of genres, a “soundtrack for the theater of the mind” as the band likes to put it. And they managed to save the best for last with this ambitious epic. Simply put, this is one of my favorite songs I’ve heard this year. “Epic” gets tossed around too frequently in the prog circles, not to describe the length of a piece; but trying to describe its scope, variety, depth, and breadth of feeling, and execution, “Distraction I-IV” accurately fits the name and meaning of epic. The movements are unique, and diverse, but remain a fully unified whole, and finish the album off perfectly.

I wasn’t really familiar with Wilderun’ before getting this album to review, and that is a real shame, as they have proved themselves to be excellent. ‘Epigone’ is a beautiful, rich, and powerful piece of progressive metal, and had it been released this year instead of next, it would easily be in my top 3 releases of the year. As it is, it will be very hard to be topped for any such list in the coming year. This album unfolds more with every listen, and long-term fans and newcomers alike should do whatever they can to get their hands on it. Highly recommended.