I was feeling incredibly cynical the other day, and none of the newest submissions in my inbox seemed interesting to me. I threw on Maysnow’s new album A Dream Within a Dream, mostly expecting the same feeling, but instead I found myself convinced to hear the entire record. And the more I hear it, the more I like it. The album released back on October 4th.
Maysnow comes to us from Italy. They have some solid backing, I must admit. Daniel Cavanagh of Anathema and Weather Systems guests on one track, as does ex-Pain of Salvation’s Ragnar Zolberg. The album was mixed and mastered by Daniel Cardoso of Anathema, as well. The band lineup is Paolo Bianchi on keys, orchestrations, programming, and synth; Nicola Lezzi on bass and acoustic guitars; Daniele Rini on vocals, and Roberto Vergallo on guitars.
To be sure, this is a roughshod release in some ways, but within it shines a hidden gem. The band plays something difficult to label. I would call it post-metal or post-prog-metal, I think, and there are hints of grunge and alternative. The entire album has a dreamy tone to it, almost organic or even folk in texture. It’s honestly something of an odd album, but I can’t help but like it, especially the fiery instrumental portions and gorgeous melodies.
I mean, the band obviously likes Frank the Rabbit from Donnie Darko. Their drums are programmed, and some of their lyrical phrasing feels lost in translation. But despite those things, the band’s purity of passion is what really rises to the top. You can feel the love for their craft and the heart with which they perform.
A Dream Within A Dream has eleven tracks, and they are all good to great. I will also say that the album is deeply balanced in that one half isn’t obviously better than the other. As I said, I was feeling cynical the other day, and I started the opener “Before the Dark”. I wasn’t entirely impressed for the first three minutes, but then the searing guitar work and explosive instrumental grabbed my attention. Next, “In the Woods” felt amazing; the groove and energy it contains is undeniable, even as its closing minutes are more reserved and ambient. Then “Another Chance” with Daniel Cavanagh hit, and I was sold. That song is most quiet, mostly hovering emotions, but when it explodes near the end, it just sounds so damn good.
The album continues in much the same way. I’d say “Hold On” is probably the weakest track on the album, and the shorter acoustic interlude “In the Rooms of Dream” coming directly afterwards doesn’t help, but “Hare” makes up for it with its trip-hopping textures and darkness. “Running with a Firework Smile”, as strange as the title sounds, is a great song with fantastic guitars and synth; it’s a pretty hot and heavy track, and when the orchestrations spill into the river, it only gets better.
The last four tracks are pretty amazing. “Still Bleeding” with Ragnar is a wonderful song, and Ragnar really emotes; it’s mostly piano and Ragnar, and I think I like it that way. “Wrong” is a surprisingly cinematic track with a catchy chorus and tender focus on piano melody. “Dawn of September” will really appeal to progressive metal fans in how it transitions between quiet melodies and pealing solos. I love the subtle vocals in the background that seem to shake with emotion. The closer “My Wake” is a 3-minute instrumental piece that feels both delicate and dark. I like how it puts a period on the sentence, so to speak.
Maysnow have a very good album on their hands. It might take a couple listens, but the more I hear it, the more I’m convinced of the band’s passion for their music. The album balances darkness and light with masterful precision at times, and the haunting quality of their melodies will stay with you. This is one of those records that you forget how amazing it is until you stumble back upon it later. It deserves more attention that, though.
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