VMBRA’s Polylith: When Progressive Metal Meets Restraint
There’s a peculiar trend in progressive metal that I’ve always found both fascinating and frustrating: the tendency to confuse complexity with depth. It’s as if bands feel compelled to prove their technical prowess at every turn, often at the expense of actual songwriting. So, when I first heard about VMBRA’s debut album Polylith, I was skeptical. Another band from Manchester promising to tackle ‘societal problems’ through intricate music? Sounds like a recipe for overreach. But here’s the surprise: Polylith isn’t just another showcase of ego-driven virtuosity. It’s a thoughtful, if imperfect, exploration of what happens when technical skill serves the song, not the other way around.
The Sound: Complexity Without the Chaos
One thing that immediately stands out is VMBRA’s ability to balance asymmetry with accessibility. Their music is undeniably complex—think irregular time signatures, layered vocals, and Phrygian-inspired melodies—but it never feels like a math problem. Personally, I think this is where many prog bands stumble. They get so caught up in their own cleverness that they forget to write hooks or create emotional resonance. VMBRA, however, seems to understand that restraint can be just as powerful as flamboyance.
Take the track ‘Dark Shepherd,’ for example. The guitar solo near the end isn’t a technical showcase; it’s a melodic counterpoint to the song’s heaviness. It’s a small detail, but it speaks volumes about the band’s priorities. They’re not here to impress—they’re here to connect.
Vocals: The Heart of the Album
Ai Sanchez’s vocals are the undeniable centerpiece of Polylith. Her range is impressive, effortlessly shifting from soaring highs to delicate whispers. What makes this particularly fascinating is how she navigates the album’s dynamics without ever sounding like she’s trying too hard. There’s a naturalness to her delivery that keeps the music grounded, even at its most theatrical.
That said, not everything lands. Her semi-shouted passages, like those in ‘You Are the Sun,’ feel forced, as if the band is trying to tick a box labeled ‘intensity.’ It’s a minor misstep, but it raises a deeper question: how much should a band lean into their strengths versus experimenting with new territory?
Layering and Repetition: A Double-Edged Sword
VMBRA’s use of layered vocals is one of their most distinctive features. The harmonies are dense, almost serpentine, giving the choruses a grandeur that feels both modern and timeless. But here’s where things get tricky: they rely on this technique a bit too heavily. By the third or fourth track, the a cappella passages start to feel formulaic. It’s a shame, because when it works—like in ‘A Man Walks In’—it’s breathtaking.
This repetition extends to their stylistic choices, too. The Phrygian influence is a refreshing departure from the typical prog playbook, but it’s leaned on so consistently that it risks becoming a crutch. If you take a step back and think about it, this is a common issue in progressive metal. Bands often find a sound they like and stick to it, sometimes at the expense of innovation.
Experimentation and Missed Opportunities
What this album really suggests is that VMBRA is still finding their voice. Tracks like ‘Dark Shepherd,’ with Kieran Byrne’s harsh vocals, show a willingness to experiment. ‘You Are the Sun’ takes a different approach, injecting a jazzy swing into the mix, complete with trumpet flourishes. These moments are exciting because they hint at what the band could become if they pushed boundaries further.
On the flip side, ‘Fooled Me Once’ feels like a misstep. The synthesized orchestral interlude is jarring, like something out of a mid-2000s RPG. It’s a reminder that not every idea needs to make it onto the album. Sometimes, less is more.
The Bigger Picture: Progressive Metal’s Future
What many people don’t realize is that progressive metal is at a crossroads. The genre has always been about pushing boundaries, but in recent years, it’s felt stagnant. Too many bands are content to retread the same ground, relying on technicality as a crutch. VMBRA, however, offers a glimmer of hope. They’re not reinventing the wheel, but they’re asking the right questions: How can complexity serve emotion? How can technical skill enhance, rather than overshadow, songwriting?
From my perspective, Polylith is a promising debut, but it’s not without flaws. The band’s willingness to experiment is commendable, but they’ll need to refine their approach if they want to stand out in an increasingly crowded field. Still, there’s something here—a spark of originality that’s hard to ignore.
Final Thoughts
If you’re a fan of bands like Haken or Karnivool, Polylith is worth your time. It’s not a perfect album, but it’s a refreshing take on a genre that often feels stuck in its own complexity. Personally, I’m excited to see where VMBRA goes from here. They’ve laid a strong foundation, and if they can iron out the kinks, they could become a major player in the progressive metal scene.
Recommended tracks: ‘A Man Walks In,’ ‘You Are the Sun’
Final verdict: 6/10
Related Links
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VMBRA is:
- Ai Sanchez (Vocals, keys)
- Jack Hogg (Guitars, vocals, bass, keys)
- Pete Cook (Bass, piano)
- Kieran Byrne (Drums, samples, vocals)
With guests:
- Ryan Byrne (Guitars)
- Jack Tinker (Trumpets)
Label: Independent
