Progressive metal artist, Daniel Bohn, is from St. Louis, Missouri. He started playing drums in middle-school, then picked up guitar in his high-school band, before acquainting himself with the piano in college. Daniel has passionately been working towards writing, recording and producing his own album, which is exactly what he has achieved with the release of “Colors of The Land”. “I love to write about nature, and mental disorders, like anxiety and depression,” explains Daniel. “My goal is to help people and the world heal through music,” he concludes. I don’t need to tell you that premiere progressive metal artists are usually good musicians. Daniel Bohn isn’t just good at his instruments. He also writes songs that are intricate, interesting and catchy.
Balancing groove and techy riffs with memorable melodies, Daniel Bohn also does a lot of work with his voice, as goes from visceral growling to soaring melodic. He has the kind of emotive voice that works so well in both his more aggressive, and in his melancholier material. What moves any artist beyond good, is the ability to combine their strengths into something unique, which “Colors of The Land” does brilliantly.
The record combines the beautiful, melodic, and smart, with the heavy, orchestrated and technical vibe. The result of which is an intensely multi-faceted album that does or doesn’t give itself up easily to a listener, depending on how you listen.
If you’re looking for simple sonic thrills, it’s there. If you’re looking beyond, into the depth of the compositions, you will find it too. Sure enough, repeated listens bring more sense to the album.
Amid the horde of pyrotechnics, it’s an extra achievement that each of the nine songs here, has a character of its own. “Subsidence” starts off slowly in epic cinematic fashion. “The Khan”, is frantic and angular.
“Void in the Mountain” has eccentric, explosive confidence, whereas the poignant ballad, “Distant Path” is contrastingly mellifluous, somber and soulful. These first 4 songs not only give you the variety of Daniel Bohn’s sound, but the extensive range of his vocals.
The fact that Daniel is able to fit all those textures and aesthetic approaches within the broader framework of his progressive metal sound, feels like a fulfillment of the most enticing elements of the genre. And it all comes brilliantly to head on the ever-evolving crunch of “Arachnid’s Web”, the abrasive bombast of “The Lost Tundra” and the expansive whirlwind of “Infinite Forest”.
Daniel Bohn’s execution of hooks both melodic and rhythmic is very strong, able to consistently grab a hold of you even as he maneuvers through dizzying stretches.
It’s apparent on “Heart of Whales”, which comes before the closing piano-driven melancholy of the slow burning “Boundless Realms”, which evolves into a 10 minute, fully fleshed-out, epic arrangement. Filled to the brim with ideas, there are countless of little details to be discovered here.
“Colors of The Land” is excellently written and paced. Its brilliance is nourished by the atmosphere in production and execution, as well as the vocals of Daniel Bohn, which are endlessly variegated.