Triosphere – ‘Oceans Above, Stars Below’

(Frontiers Music)

I’ll be honest, I approached Oceans Above, Stars Below with a degree of trepidation. Progressive Metal and I haven’t exactly been seeing eye to eye lately. I’ve encountered a few releases where technical ability seems to take centre stage at the expense of memorable songwriting, and while I can appreciate musicianship as much as the next rock fan, there comes a point where I simply want a great song rather than a musical endurance test.

Thankfully, Triosphere have delivered an album that completely turned my expectations around.

Oceans Above, Stars Below is Progressive Metal, without question, but this is Prog with considerably more heart, melody and accessibility than many of the genre’s recent offerings. Rather than disappearing down endless instrumental rabbit holes or becoming obsessed with technical complexity for its own sake, Triosphere have created something that manages to combine sophistication with genuine songwriting craft. There’s plenty here for the Prog faithful to get their teeth into, but there’s also an abundance of hooks, melodies and choruses that make this an album you can actually live with. And for me, that distinction makes all the difference.

There are two major reasons why this album has impressed me so much. The first is the vocals. Ida Haukland delivers a towering performance throughout, possessing a voice that can effortlessly command attention when the music demands power, yet remains beautifully melodic when the songs call for something more delicate. There is strength, clarity and character in her delivery, but perhaps most importantly, there is emotion. Haukland never sounds as though she is simply singing over the music. She is an integral part of it.

Her vocals give Triosphere’s ambitious compositions a human centre, preventing the technical aspects from becoming cold or detached. When the arrangements swell into their more bombastic passages, she has the power to rise above them without ever sounding forced. When the melodies take precedence, her voice has a wonderfully expressive quality that makes the material considerably more immediate.

Quite simply, she is magnificent.

The second reason is the songwriting. This is where Oceans Above, Stars Below really won me over. Progressive Metal can sometimes be guilty of prioritising complexity over catchiness, but Triosphere understand that a complicated arrangement means very little if there isn’t a memorable melody at its heart.

Thankfully, there are hooks everywhere.

The choruses are considerably stronger and more memorable than I’ve encountered on many recent Prog Metal releases. They have that wonderful ability to lodge themselves in your head without sacrificing the sophistication of the surrounding arrangements. There are melodies here that reveal themselves quickly, but there are also layers that reward repeated listens. That balance is incredibly difficult to achieve, and Triosphere manage it remarkably well.

The album certainly isn’t simplistic. Far from it. There is an impressive amount of musical detail packed into these compositions, with shifting dynamics, intricate arrangements and plenty of progressive flourishes. Yet the musicianship always feels like it is serving the songs rather than overshadowing them. That’s an important distinction.

Marius Silver Bergesen and Tor Ole Byberg’s guitars have plenty of muscle and technical flair, while the rhythm section provides a formidable foundation capable of handling the more adventurous moments with ease. There’s a sense of scale to the production too, with the arrangements given plenty of room to breathe. The whole thing sounds expansive and cinematic without becoming unnecessarily cluttered.

And then there are those melodies.

For all the progressive credentials, this is an album that understands the importance of emotional payoff. Big builds lead somewhere. Musical tension is rewarded. Choruses arrive with genuine impact. The quieter passages provide contrast rather than simply serving as bridges between technical workouts. It creates a sense of ebb and flow that makes the album surprisingly easy to immerse yourself in.

That accessibility was perhaps the biggest surprise for me.

I was expecting an album that might require considerable patience, repeated listens and a suitably caffeinated brain before I could fully appreciate it. Instead, Oceans Above, Stars Below grabbed my attention surprisingly quickly. There is enough immediate appeal to draw you in, while the progressive elements ensure that the album continues to reveal more with every listen.

That’s exactly how I like my Prog Metal. Give me complexity, but give me a reason to care about it.

Triosphere also demonstrate an excellent understanding of dynamics. The album isn’t simply one long barrage of heavy guitars and soaring vocals. There are moments of restraint, atmosphere and reflection, which makes the heavier sections hit considerably harder when they arrive. The contrast gives the record a genuine sense of journey, making it feel like an album rather than simply a collection of technically impressive compositions.

There’s also an undeniable sense of ambition running through Oceans Above, Stars Below. This is music that reaches for something grand, but thankfully never forgets that grandeur works best when it is accompanied by strong songwriting. And that, ultimately, is what makes this record such a pleasant surprise.

After struggling with a few Prog Metal releases recently, I genuinely wasn’t expecting to be quite so taken with this one. Triosphere have reminded me that Progressive Metal doesn’t have to be inaccessible, overly complicated or devoid of instantly memorable moments. You can have intricate musicianship and powerful arrangements while still delivering choruses that make you want to sing along. Oceans Above, Stars Below achieves that balance beautifully.

It’s progressive enough to satisfy those who crave musical depth, melodic enough to appeal to those of us who put songwriting first, and powerful enough to deliver plenty of impact along the way. Above everything else, though, it is an album with personality.

And a huge part of that personality comes from Ida Haukland, whose exceptional vocal performance provides the emotional anchor around which the entire record revolves.

I approached this album with trepidation. I’m very glad I pressed play.

‘Of Tyrants’, the progressive credentials are firmly on display here, with muscular guitars and a rhythm section that gives the song plenty of momentum. Yet Triosphere avoid allowing the technical elements to overwhelm the songwriting. The chorus is particularly effective, delivering exactly the kind of memorable hook that makes this album so accessible.

‘Oceans Above, Stars Below’, the title track feels suitably epic, with a grand sense of scale running throughout. There’s a cinematic quality to the arrangement, but the melody remains front and centre. Haukland is simply phenomenal, moving effortlessly between power and emotion. This is Prog Metal with genuine atmosphere and a strong emotional payoff.

‘Monster’s Ball’, a darker, heavier offering with plenty of attitude. The guitars have real bite, while the changing dynamics keep things interesting without ever becoming unnecessarily complicated. Another strong vocal performance helps turn what could have been a technically focused composition into something much more engaging.

‘Through The Phantom Wall’, there’s an excellent sense of movement here, with Triosphere shifting between atmospheric passages and heavier sections with impressive fluidity. The melodic elements are particularly strong, and once again the chorus provides an immediate focal point. This is progressive songwriting that knows when to let the melody take control.

‘Shorelines’, a more reflective moment that demonstrates the band's ability to create atmosphere without losing their identity. The vocal performance is wonderfully expressive, while the arrangement gradually builds in intensity. It’s beautifully paced and provides some welcome breathing space within the album’s ambitious framework.

‘Lightning In A Bottle’, an energetic and infectious number that really demonstrates Triosphere’s knack for memorable songwriting. There’s plenty of technical flair underneath the surface, but the hooks are impossible to ignore. Haukland delivers another commanding performance, making this one of the album’s most immediately appealing moments.

‘Encore’, a wonderfully dynamic composition that continues the album’s balance between progressive sophistication and melodic accessibility. There’s a sense of drama throughout, with the arrangement constantly evolving while never losing sight of its central melody. Another excellent example of Triosphere getting the Prog/Metal balance absolutely right.

‘Embers’, atmospheric, emotional and beautifully performed. The quieter qualities give Haukland an opportunity to showcase the more delicate side of her voice, before the music gradually expands around her. A deeply melodic piece that adds another dimension to the album.

‘Orpheus’ Bane’, one of the more ambitious pieces, packed with shifting arrangements and impressive musicianship. Thankfully, the complexity never becomes the whole point. There’s still a strong melodic backbone, and Haukland once again provides the emotional connection that keeps the listener invested.

‘Cadence Of Chaos’, the title certainly gives you an indication of what to expect! This is a lively, intricate piece with plenty going on musically. The musicianship is exceptional, but it’s the way everything comes together that makes it work. Triosphere sound completely in control of their progressive instincts.

I approached Oceans Above, Stars Below with more than a little trepidation after struggling to connect with several recent Progressive Metal releases. How wrong I was. Triosphere have delivered an album that combines progressive ambition with the one thing I always want from my Metal, great songs! The musicianship is superb, but it never gets in the way of the melodies, hooks and powerful choruses. And then there’s Ida Haukland, whose towering vocal performance elevates the entire album, bringing both power and genuine emotion. This is Progressive Metal that invites you in rather than shutting the door in your face. Accessible, ambitious, melodic and hugely enjoyable, Oceans Above, Stars Below has completely won me over.

Prog Metal this good doesn’t need to be decoded, it just needs to be played LOUD!

8/10

Essential Track – ‘Shorelines’

Review By Woody