DeadRisen: DeadRisen-2020.

DeadRisen:Proggressive Metal from United States.


Fear and FurySingle2020 


Mike LePondBass (2019-present)
See also: AffectorArkenstoneBurnt CityDeath DealerEverdawnEynomiaFatal ArrayHeathen’s RageMike LePond’s Silent AssassinsRivera/BommaRoss the BossSymphony XTwo Hundred FeetWaken EyesDistant ThunderStygia, ex-Brute Force, ex-Holy Force, ex-Ureas, ex-Midnight Eternal, Ango Tasso’s Air Force, Dead on Arrival, Mike Bino Project, ex-Ashenveil, ex-Eternity’s End, ex-MindMaze, ex-Seven Witches, ex-Sleepy Hollow, ex-Them, ex-Helstar (live), ex-Operatika Element (live), ex-Elegacy, ex-Painmuseum, ex-Malakis Reign, ex-Last Union, ex-Rattlebone
Dan PrestupDrums (2019-present)
See also: EverdawnRivera/Bomma, ex-Midnight Eternal, Spider Rockets
Rod RiveraGuitars (2019-present)
See also: Mike LePond’s Silent AssassinsRivera/Bomma
Tony StahlKeyboards (2019-present)
See also: Livesay, King’s Rage
Will ShawVocals (2019-present)
See also: AthemRust Belt Gothic, ex-Abodean Skye, ex-Purity, ex-Heir Apparent

One thought on “DeadRisen: DeadRisen-2020.

  1. hells_unicorn, June 7th, 2020
    Written based on this version: 2020, CD, AFM Records

    Mike LePond’s status as the premier studio mercenary of the U.S. east coast may well have been solidified about 10 projects ago, but he hasn’t shown any signs of slowing down in expanding his massive resume of associated projects. His latest endeavor has all of the trappings of a would be super group, only he appears to be the only highly visible player in what rounds out the lineup of DeadRisen, which can best be described as slightly more stylistically eclectic variant of his best known band. To be fair, there are only so many ways that one can structure a dark, groovy mode of progressive metal without it turning into something that sounds heavily akin to either Symphony X or Nevermore, and this band’s eponymous definitely tiles quite heavily towards the former. This is naturally a welcome eventuality for anyone who has been itching for a new album out of said band for the past 5 years, and it does come with a few welcome twists to keep it from being an outright clone of the original.

    The best way to sum up what this album sounds like would be a shorter and more streamlined version of The Odyssey with a few dashes of Dream Theater’s Octavarium and a drier production. The musicians tapped for the task of accomplishing this highly ambitious sounding amalgam of influences are definitely up to the task, with guitarist Rod Rivera being a more than apt soloist, if maybe not quite as adventurous in how his chugging groves mess with odd time signatures, while drummer Dan Prestup and keyboardist Tony Stahl provide a somewhat humbler performance around which the rest of the arrangement steals much of the show. Vocalist Will Shaw does his best at imitating Russell Allen’s gritty shouting style, but he tends more towards a thinner timbre comparable to James LaBrie and tends to spend more time shrieking in Halford territory. Basically everybody on here gets the job done, but LePond proves to be the chief attraction here, as his bass work gets so fancy at times that it upstages the guitars and is notably prominent in the mix.

    As noted previously, the album that this bears the closest resemblance to is the epic grandeur of The Odyssey, which is also the album where Michael Romeo’s penchant for thick, chunky groove metal elements full came to fruition, and this album takes both the epic and chugging elements of said album’s gargantuan title song and turns it into a full length prog album. Following a dramatic symphonic overture dubbed “Risen Death In D”, the bulk of this album follows a predictable pattern for anyone who has heard the aforementioned Symphony X album, or really any album by said band since. Things are at their best when the tempo is kicked up, particularly in the case of the more noodling “Chains Of Time”, which sees Rivera doing an apt job of mirroring Romeo’s more fill-happy riffing style. The groove/thrashing chaos of “Prophecy” and “Visions” also work quite well, though there aren’t really any outright low points to speak of on this album, but just a lot of what has already been heard before in the previous 2 decades in power/prog circles.

    Realistically, this project might want to consider changing its name to DeadRisen: Featuring Mike LePond, or even Mike LePond’s DeadRisen, that’s how much his presence on this album tends to steer things. It’s sort of a double-edged sword at times, but it’s also one of the chief reasons why just about every fan of Symphony X may want to give this album a listen. Just give a passing listen to the insanely shred-happy base solo that chimes in just after Rivera finishes his shred session on “Buy You”, or better still, listen to how LePond actually takes an already fancy bass line from Cliff Burton’s arsenal on the cover of For Whom The Bell Tolls and makes it twice as flashy. It’s about the most blatant indication of how accomplished of a bassist he is, and sadly it often proves to undercut the rest of this band, which are far from being slouches at their instruments. Baring a guitar tone and drum production that’s a tad on the processed and weak side, this is a near flawless homage to the Symphony X sound, and is sure to be a welcome appetizer until the eventual successor to Underworld finally emerges.

    Originally written for The Metal Observer (


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