BETWEEN THE BURIED AND ME – The Blue Nowhere (Album Review)

Rarely have Between the Buried and Me had a record as heavily anticipated and important as The Blue Nowhere. Beyond signifying the band’s longest gap between LPs – predecessor Colors II released in 2021 – it’s their first album without Dustie Waring since 2003’s The Silent Circus and their first album ever as a quartet. Thus, The Blue Nowhere needs to demonstrate not only that Between the Buried and Me can knock it out of the park once again (which is obviously a challenge every artist faces with every release), but that they can do it with fewer members.

Unsurprisingly, they immediately and consistently prove themselves more than capable of both tasks by delivering a very worthy addition to their esteemed catalog. In fact, the collection falls perfectly within the quartet’s modern wheelhouse, once again fusing elements of technical death metal and progressive rock as only they could.

What’s more, Paul Waggoner does an impeccable job as the band’s sole guitarist (so much so that only aficionados who’ve studied how his style differs from that of Waring will probably notice the absence of the latter musician). Therefore – and despite being a bit too safe and predictable in spots – The Blue Nowhere is a terrific first entry into Between the Buried and Me’s latest era.

As usual, the LP is a conceptual statement revolving around existential quandaries (situated within a hotel called – you guessed it – The Blue Nowhere). This time around, however, it’s disconnected and abstract rather than linearly narrative. As vocalist/keyboardist Tommy Rogers explains, the lyrics take the form of “journal entries, letters, fleeting and introspective thoughts—chaotic at times, depending on the music.”

He adds, “I feel like this album just exists in a world that’s not tied to a storyline. It’s more about a feeling, where the songs live for me. It’s more of a feeling—those moments when you feel alone in the world and you’re reflecting, and in that process, you’re finding out new things about yourself and your place in the world. Existing in a space where nobody can find you, as you’re hidden from all forms of reality – that’s The Blue Nowhere.”

The group’s full-length sequences typically kick off with one of their most representative and enjoyable tracks, and The Blue Nowhere is no exception. Indeed, opener (and first single) “Things We Tell Ourselves in the Dark” is a multifaceted beast that evokes the warmer and zanier personas of 2009’s The Great Misdirect, 2015’s Coma Ecliptic, and 2018’s Automata II (but with the self-professed ‘80s synth pop/prog tones of INXS, Duran Duran, and “90125-era Yes”). It seamlessly oscillates between intricate chaos, unusual segues, and hooky purification, confirming that Between the Buried and Me are still operating at full capacity. There’s even a touch of Gentle Giant-esque interlocking vocal counterpoints just to spice things!

Likewise, the record finishes with its other two standout songs: “The Blue Nowhere” and “Beautifully Human.”

The former tune is probably the catchiest song they’ve ever done (sorry, “Memory Palace” and “The Proverbial Bellow”), and in a respectably polarizing move, it’s also their most radio-friendly one due to its lack of growls and instrumental fury. Instead, it’s a “serene, reflective ballad” inspired by “classic rock and yacht rock” that essentially combines Between the Buried and Me’s characteristically colorful poignancy with the inspirational guitarwork of Devin Townsend and the poppy sensibilities of Haken. No matter how controversially conventional and simple it is, there’s no denying its overwhelming power as a gorgeously uplifting sing-along earworm.

As for “Beautifully Human” –  and like numerous other album closers – it’s both new and reflective, recalling at least one prior theme as it captivatingly brings the experience full circle. Its cosmic textures, six-string arpeggios, central piano motif, and blend of clean and demonic singing are a real treat. By the end, it feels like you’ve completed another incredible Between the Buried and Me journey.

The rest of the record is quite good, too, if too recognizable and formulaic. In particular, the quartet checks the requisite boxes for moody industrial hostility (“God Terror,” “Psychomanteum”) and quirky breakdowns/interludes and accents from Rogers (“Absent Thereafter,” “Pause,” “Mirador Uncoil,” “Slow Paranoia”) to the point that it can seem like they’re plagiarizing themselves. All of it works wonderfully and is immensely entertaining, but there’s also an undeniable sense of “been there, done that” to certain sections.

Consequently, The Blue Nowhere will undoubtedly impress Between the Buried and Me novices more than veteran followers. Even so, its marginal lack of originality/freshness and memorability (compared to its superb predecessors) barely takes away from everything it does exceedingly well. In other words – and at the risk of using a clichéd analogy – it’s like eating reheated leftovers of your favorite meal for the third night in a row: it’s still great, but it’s also a tad too familiar.

Regardless, The Blue Nowhere is a triumphant return that further cements Between the Buried and Me as the masters of this style while also confirming that they’re well-equipped to continue as a quartet if that’s what they’re intending.

Release Date: September 12th, 2025
Record Label: InsideOut Music
Genre: Progressive Metal

Musicians:

• Tommy Rogers / Vocals, keys
• Blake Richardson / Drums
• Dan Briggs / Bass, keys
• Paul Waggoner / Guitars

The Blue Nowhere Track-list:

1. Things We Tell Ourselves in the Dark
2. God Terror
3. Absent Thereafter
4. Pause
5. Door #3
6. Mirador Uncoil
7. Psychomanteum
8. Slow Paranoia
9. The Blue Nowhere
10. Beautifully Human

Order The Blue Nowhere here