The sonic floodgate has opened.
After more than 30 years of prominence within the metal circle, one would think that just about every nook and cranny within the broader musical world has already been explored by the progressive metal flock, yet there remain a number of novel discoveries of late.
One infrequently explored niche that has proven especially puzzling given the explosion of the scene following Dream Theater’s popular ascent in the early 90s is the stylistic eclecticism that they brought to the table and the concurrent grunge craze. Though by no means new players in town, Detroit-born quintet Imminent Sonic Destruction may well have stumbled head first into that elusive middle ground that exists between the highly refined brilliance of Images And Words and the dreary, sludgy and haunting tapestries that painted the radio waves in the 90s courtesy of the likes of Alice In Chains and Soundgarden, at least insofar as their 4th studio opus Floodgate is concerned.
Naturally, the aforementioned mixture of traditional progressive metal stylings with the ’90s Seattle alternative rock ones only tells part of the tale, as these Michigan natives have no shortage of tricks up their sleeves. The prototypical 5-piece arrangement of drums, bass, guitar, keyboards, and vocals has been augmented by de facto lead vocalist Tony Piccoli also takes up guitar duties alongside virtuoso riff man and multi-instrumentalist Scott Thompson, weaving a denser six-string foil to the Kevin Moore-like musings of keyboardist Pete Hoperberger.
Furthermore, the fact that every other member of the band, save drummer Pat DeLeon takes up supporting and occasional lead vocal duties makes for a multifaceted collage of voices with varying timbres that resembles the one established by Layne Staley and Jerry Cantrell, though often comprising more than 2 voices. Throw in a few off-kilter forays into extreme vocal territory and some truly dark and heavy moments reminiscent of Nevermore, and this 2025 album all but feels like one that should have hit the shelves back in the mid-90s, but ultimately did not.
As with any artistic endeavor involving surprise, Floodgate goes about the business of exploring the world of progressive nuance by doing some things that are to be expected. The opening rock-infused romp “Floodgate I” pounds the pavement with a bluesy groove that almost could have been a nod to King’s X’s Tape Head were it not enveloped in a spacey keyboard gloss and doubled by a smooth rock organ, let alone that it shifts about for close to 7 minutes and features a highly drawn out and flashy guitar solo section.
Driving banger and promotional single “Memento Mori” takes it a step further and could almost be mistaken for a missing love child of Dirt and Badmotorfinger save for the same atmospheric keyboards and a less yarling vocal presentation. Later on, closer to the album’s close, the similarly concise and woeful ballad “Weight” marries a hazy shoegaze element into the equation, which yet again, would amount to a full-on foray into 90s rock territory were the technical guitar work and elaborate keyboards and piano interplay absent from the equation.
All of the prior noted songs, along with a significant chunk of the marathon 13 minutes plus closer “Floodgate II”, represent a band that one might chalk up as a more musically adventurous alternative rock outfit. However, along with the extremely proficient chops displayed by each instrumentalist and the wandering epic song structure of the longer offerings of this album, one can’t help but be jarred at the pummeling metallic intensity that lands on “No One”, which does revert to a more atmospheric character at times, but screams Nevermore almost to the point of having Jeff Loomis’ name appearing as a guest guitarist.
“The Game” also goes particularly hard and nasty at times, though it frequently veers into that signature mixed meter, jazzy balladry, and Rush-inspired sense of eclecticism that one associates with Dream Theater. But the coup de grace that truly captures this album’s sense of defying the rules while still sounding accessible is the punchy riff monster and technically-charged “Find Center”.
Though a band that can count touring with the likes of Fates Warning, Pain Of Salvation, and Circus Maximus, as well as having the renowned guitarist/producer Roy Z at the controls for their debut LP, Imminent Sonic Destruction still feels like a well-kept secret in progressive metal circles.
It clearly isn’t for any want of originality in a field that is largely populated by bands still sticking close to the example set by Dream Theater on one end and Nevermore on the other, nor can one qualify them as being too long-winded or virtuosic to be inaccessible. But if there is a point where this veteran outfit might find a way to break through into the larger rock and metal world, Floodgate has all the elements to make it happen. It’s a swirling, snarling trip through shadowy moods and jagged riffs, where nothing stays still and everything hits deep. It’s hypnotic, heavy as hell, and crackling with the kind of weird energy that lingers long after the final note.
Musicians:
- Pat DeLeon / Drums
- Pete Hopersberger / Keyboards, vocals
- Bryan Paxton / Bass, vocals
- Tony Piccoli / Guitars, vocals
- Scott David Thompson / Guitars, vocals
Floodgate Track-list:
1. Floodgate
2. Memento Mori
3. No One
4. The Game
5. Find Center
6. The Light at the End of the Tunnel
7. The Weight
8. Floodgate II
Order Floodgate here
Floodgate doesn’t care if you’re here for wanky solos, moody dirges, or existential sludge — it’s throwing all of it at your face and daring you to flinch. It’s a beautifully twisted mess that stomps, spirals, and sneers its way to something far too good to stay underground
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Songwriting
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Musicianship
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Originality
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