by Dave Campbell
Emerging from a small coastal town in Massachusetts nearly two decades ago, psychedelic proggers Elder have continually evolved well beyond their early roots in stoner and doom metal. Across seven studio albums, the band has developed a distinctive sound that blends elements of progressive rock, psychedelia, and heavy rock into something unmistakably their own. Their latest album, Through Zero, continues that progression, delivering another ambitious collection of songs that reinforces Elder’s reputation as one of the leading forces in modern heavy psychedelic rock. This music is called “Heavy Psych,” for a concise term. Based on pentatonic scales (five notes per octave), their music often consists of long songs, heavy, fuzzy riffs, and downtuned guitars. Through Zero is a music engineering term describing a frequency that passes through zero and continues into the negative instead of stopping.
The album’s title, Through Zero, could refer to a metaphor that something that seems like an ending may be a transition point in something bigger…something that we can’t see when we are bogged down in the day-to-day of this thing called life. It can represent a continuity, even a rebirth of sorts. Take a look at the album cover. There is a thick underbrush of prickly vegetation colored in black, which can often represent death, morning, or even things that cloud our vision…things that seem impossible to see through or overcome. However, the hues of bright orange and red with the sun as a focal point represent the light and warmth just out of reach from the darkness…something we often use as a guide or even an ideal. Meaning: We all have struggles…things that are both seen and unseen, but if we can just cut through some of the thick underbrush that mars our lives, there is something out there that we can strive to become…some good in life if you will. The cover art reminds me of a quote that reads, “Dreams are what makes life tolerable.”
“Sigil to Ruin” is first. Although the background is shadowy at first, meaty bass notes come pushing in with both hands raised, along with eerie lead guitar work. There is also some tension, and the sound makes a quick segue into the psychedelic, with keyboards and lead guitar notes traveling in unison over a thick bed of bass. Some vocals pepper the song, adding just the right seasoning at just the right times, and you get a clear sense of progressive music from all of the dexterous timing shifts. “Capture/Release” has that cathartic effect that some music can create for the listener, and rhythm guitars and bass notes keep it moving quickly, with keyboard notes providing a lot of the muscle. It’s catchy and captivating, and makes you feel alive. The vocal harmonies are executed wonderfully, and the song moves with the energy and undulation of ocean waves. The “release” happens towards the end, when it heads for a crescendo, and crashes into a retaining wall.
The title track is a little more brooding. Settling down with a slower pace, menacing riffs combine with “thicker than country bacon” bossy bass notes and keyboards to create a firm sound without cracks. One thing that the band is outstanding at so far is balancing the brood with outright feel-good tones, and the tension with release. In many ways, this phenomenon mirrors our lives. Segueing into “Strata,” the title refers to “one of a number of portions or divisions likened to layers or levels.” In other words, a song that has more than one message or meaning. There are many layers of the music on the album, especially in this song. It moves forward with an infectious energy, seemingly singular in vision but slowing at times just enough to give you pause. Firm and fuzzy guitar riffs provide much of the fuel needed in the song, acting like high-octane gasoline that you would fill your performance machine with. Yet, as firm as you press down the gas pedal, there’s a cliff at the end of the road that springs up from nowhere, and the roar of the engine dissipates.
Making a smooth and quiet segue into “Sight Unseen,” there is a mute calm that settles in. It’s a gentle, psychedelic ride from there, and keyboards provide much of the direction. Layers are added to the song along the way, and you pass through bright colors, perceived textures, and even some dark, menacing passages. The calm returns at the end, and it’s as still as the night air. “Blighted Age” is the final song. Simply defined, blighted means a thing that spoils or damages something. Taking the phrase a step further, a blighted age perfectly describes the times we find ourselves living in these days. They talk briefly about how “it’s not enough, we know there’s gotta be a better way.” There’s a stillness that develops from there as the song rides into the sunset, and I’m not sure if any of the questions the album asks were answered, but it doesn’t take away from it being a useful exercise.
Although Through Zero can seem straightforward, uncomplicated, and even elementary at times, that is indeed its smoke and mirrors. It holds the illusion that it is more complex than it appears. The layers on the album are like an onion; with each further peel, you discover more and more. ELDER offers two main ideas on their new album. First, they prove that riffs are still relevant, and even vital in today’s Progressive Metal scene. Even though some bands have all but abandoned them, some of the riffs they play are downright bossy, in the same manner as an overgrown playground bully. Second, the corollary with the album title asks us to think bigger, rise above the things we can see and touch, and trust the process that even though we think we’ve reached the end, there are still things to learn.
YouTube Links:
Released May 29, 2026, on Blues Funeral Recordings
https://beholdtheelder.bandcamp.com/album/through-zero
Tracklist:
1. Sigil To Ruin
2. Capture/Release
3. Through Zero
4. Strata
5. Sight Unseen
6. Blighted Age
Lineup:
Nicholas DiSalvo – Guitars, Vocals, Synthesizer
Jack Donovan – Bass
Michael Risberg – Guitars, Rhodes Piano
Georg Edert – Drums, Percussion
Add comment