ALBUM REVIEW: Kala – Mobius
Progressive metal really grew into its own in the latter stages of the 2010s. From the boom of catered festivals to the explosion of the tech movement, progressive metal is one of the most biodiverse regions of heavy music. French outfit MOBIUS take this into their stride as sophomore effort Kala challenges the very notion of complexity through its rich tapestry of multifaceted sounds.
Building upon the promise shown on 2016’s debut, The Line, Kala sees the quintet expand their expansive soundscape to new and truly exciting pastures. After the short introductory number of A, Abhinivesha kicks the record off with a bang as the complexity of the rhythmic guitar work of Xavier Pompon dances from djent-driven tones to oriental flourishes, Guillaume Deveaux‘s splashes of keyboard-play injects some lovely melody into the song’s midway point and Heli Andrea sets an immediately strong precedent with a commanding vocal presence that flows with power and ethereal grace. It’s a strong start to the record and gives a big insight into what one can expect to hear with Kala.
From there, MOBIUS continue to dazzle and shine as their expansive fusion comes to fruition. Sharira boasts some western-driven prog metal riffage and an operatic vocal display from Andrea, the one-two of the piano-driven instrumental U that flows into the snappy and heavy Mukti is as seamless as it is effective and Bhati showcases the band firing on all cylinders. Here, the band’s clever utilisation of dynamics allow the track to really grow in stature, as the heavier elements of their sonic arsenal offer the perfect counter to the subtle synths and Heli Andrea‘s operatic clean vocal deliveries. It’s clear that MOBIUS are masters of their craft and there is enough variety and experimentation on offer throughout Kala‘s runtime to keep you on your toes.
However, there are times where the band’s ambition can cause the record to falter and stutter as a result of the sheer complexity of their arrangements. Akasha‘s feels repetitive in places as the song’s long runtime results in passages dragging on far longer than they should, fortunately the track’s climatic conclusion saves the song from being a total write-off, and Agni concludes the record not with a bang but a whimper. Sure, the Middle-Eastern influence is more prevalent on this short instrumental number and the way in which it links with the excellent Bahti is so smooth, but its placement as the last piece of music on the record is very questionable.
It is also worth mentioning that Kala is by no means an easy listen. The soundscape that MOBIUS have forged contains many layers, some more subtle than others, and the result is a record that takes multiple listens to full comprehend. By no means is this a bad thing, as presumably MOBIUS intend Kala to be a record that demands multiple spins, but there is a concern that those who don’t strike an immediate connection with it will likely leave it by the wayside, and as a result, will never get to fully appreciate just what MOBIUS have created here.
A multifaceted and dynamic listen, Kala is as rich in character as it is adventurous in its nature. With so many differing musical elements thrown into the mix, MOBIUS walked a tightrope as to whether the end product would be the downfall of its own experimentation or if it would help transcend their sound to another level. Whilst this record is by no means a masterpiece, fortunately, Kala is the latter. This is a record that is brave, explorative and an utter thrill to digest and consume.
Rating: 8/10
Kala is out now via self-release.
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