Written by Kep
Bedsore–Dreaming the Strife for Love
> Progressive death metal
> Italy
> Releasing November 29
> 20 Buck Spin
Do you listen to “progressive” death metal and find yourself thinking, “That’s great, but I wish this actually sounded like somebody took 70s prog rock, blended it in a food processor with the violence of death metal, and then made the whole thing sexier than a velvety purée”? Got a hankering for the sort of lurid psychedelic charm only liberal use of a Mellotron will sate? Have a taste for something grim and a little ghastly, but with the alluring colors of sax, flute, and brass mixed in? Well you’re in luck, you goddamn weirdo, so be ready to get real fucking hot and bothered by this newBedsorealbum.
Bedsore, the Italian four-piece who happen to be the proud owners of one of the actual grossest band names in metal, blew minds back in 2020 with their debut full-lengthHypnagogic Hallucinations, an ambitious hunk of primal progressive death that took more turns than a winding mountain road. It was spectacular, hypnotic, and surprisingly brutal for all of its careful nuance, with hideous growls and aggressive death metal textures at the forefront of envelope-pushing songwriting.Dreaming the Strife for Loveis a different beast entirely, eschewingBedsore’s previous death metal center for something far more intermingled and homogenous. It’s unabashedly prog-forward, embracing the mellifluous sounds of the 70s wholeheartedly from start to finish, holding those tones and textures on equal footing with the grimmer side of their influences.
In what is a truly special two-month stretch for real progressive death—Blood Incantation,Moss Upon the Skull, andOpethhave all thrown their fedoras and brown vests into the ring since October began—Bedsore’s effort may well be the one that’s most daring. At times it’s flat out sultry, moan-like alto vocals wafting behind a smoky screen of guitar, synth, and trumpet (“Minerva’s Obelisque”) or delirious saxophone melting into a pot of swirling Mellotron and wailing guitar like fondue (“A Colossus, an Elephant, a Winged Horse, the Dragon Rendezvous”). Synth lines burst like sun rays through thick clouds and stabs and jabs of Mellotron lay groovy beats down for the guitars to play on a razor’s edge above. Glorious melodic crescendos lift and soar in waves of vivid color as a simply remarkable range of guitar tones meshes with synth and brass, accented by hoarse and anguished screams. “Fanfare for a Heartfelt Love” begins with the grandiose drama of a Hammond organ at full volume, ominous andhaunting, before giving way to uplifting major chords, driving drums, and a synth melody that feels like cruising by the ocean at 80mph with the top down. Trumpet and trombone add a burnished sheen to climactic chords (“Realm of Eleuterillide”), acoustic guitar weaves lines along and in pairs with harpsichord, liquid jazz-toned 12-string swirls soulfully, and even the warm strength of bari sax reinforces moments of relaxation.
And all that is to say nothing of the songwriting itself, which is nothing short of stellar and endlessly absorbing. Each of the six compositions is a little narrative all its own, with what almost feels like chapter and verse, and the longer tracks(“A Colossus…” and “Fountain of Venus”) have entire distinct acts within their runtimes. The band makes masterful use of its more atmospheric moments and builds tension and desire like no band I’ve heard recently. It’s magnetic writing that manages to not feel indulgent (at least in the negative sense) despite holding space and time for a wealth of ideas and sounds. There were moments I was reminded ofSpeglas (andSwevenandMorbus Chronby extension) andOpeth, butBedsore’s vision goes well beyond that of those bands. It’s dreamy and hazy, yet crystalline and visceral. The care and skill with which these songs are crafted is astonishing, and you’ll be picking up new rhythmic ideas, melodic connections, and thematic variations with every listen.
Like all the best prog, this is in service of a concept:Dreaming the Strife for Loveis based on Hypnerotomachia Poliphili, an allegorical fantasy/romance written in the 15th century by Francesco Colonna. I won’t pretend to be familiar with it, but I will give credit to the band for making its themes of love, desire, violence, and strife in a setting of dreamlike surreality feel wholly palpable. The album is boosted by utterly fantastic production across the range of instruments, courtesy ofLorenzo Stecconi, who I think we should probably start worshipping or something. The mix is roomy and feels appropriately large-scale, butStecconi fills every inch of it when necessary and never loses the clarity on a single element. The master byCult of Luna’sMagnus Lindbergis similarly ideal; the continuity and dynamism of the package is remarkable.
THE BOTTOM LINE
Quite frankly, I’m floored. This is absolute top-notch progressive death metal, daring and thoughtful in equal measure, liable to grab hold of you and drag you into its warm depths. It’s easy to get lost in, but not overly long or prohibitively cerebral, and it’s probably the single most cohesive blend of prog and metal that I’ve ever heard. If you enjoy progressive music of any sort,Dreaming the Strife for Loveneeds to be at the top of your listening list.
