by Victor Giol
Some debut albums feel like the culmination of years of patient craftsmanship and Where Mountains Hide, the first full-length release from North Carolina’s Sometime In February, is precisely that kind of arrival. It lands with the poise and maturity of a seasoned act, delivering a bold artistic statement that sets them apart in the progressive metal world. This trio has crafted a debut that is as cinematic as it is intricate, fusing emotional depth with technical brilliance in a way that feels both fearless and refined.
Right from the opening track “Palantir” it’s clear that Sometime In February is carving their own path through progressive instrumental metal. Guitarist Tristan Auman, drummer Scott Barber, and bassist Morgan Johnson weave together a sound that’s both dense and expansive, blending the rhythmic muscle and dexterity of the genre with soaring melodic sensibilities. The trio creates immersive soundscapes that are as narratively compelling as they are musically complex.
One of the album’s most commanding tracks “The Bad Fight” sees the band collaborating with Paul Waggoner of Between the Buried and Me, whose fiery guest solo adds another layer of intensity to the composition. As if that weren’t enough, the addition of Rich Castillo’s (The Callous Daoboys) saxophone injects an unexpected jazz-fusion edge, elevating the track into something truly genre-bending. This ability to shift moods and textures while staying grounded in their sound is what makes Where Mountains Hide stand out.
“Outside In” follows suit, showcasing the band’s talent for writing progressive compositions that are challenging yet melodic. The song’s intricate time signature shifts and evolving structure never feel aimless; instead, they pull the listener deeper into the album’s world, proving that Sometime In February understands the delicate balance between complexity and accessibility.
“Phantom Sea” is another highlight, effortlessly blending influences from the cinematic prog-metal of Haken to the guitar heroics of John Petrucci-era Dream Theater. Yet, the track never loses its own identity. Tristan Auman’s guitar work shines as both virtuosic and expressive, delivering solos and motifs that feel equally at home in a stadium or a late-night headphone session. Despite the clear nods to prog-metal giants, “Phantom Sea” remains rooted in the trio’s distinctive voice.
“Bury You” clocks in as the album’s longest track at nearly seven minutes and delivers some of the album’s heaviest and most dissonant moments. There’s a distinct intensity here, and perhaps influenced by the song’s title, echoes of Between the Buried and Me’s darker, more angular tendencies begin to surface. Following this sonic assault, the band shifts gears with the two-part “Homeworld” mini-epic, which further amplifies the album’s rhythmic complexity and melodic sophistication. The duo of tracks feels like a culmination of the band’s strengths—balancing polyrhythmic passages, emotive guitar lines, and dynamic arrangements that highlight the trio’s knack for weaving intricacy with accessibility.
The album closes with “Funeral House” , a slow building, blues-tinged composition that allows the band to stretch beyond their progressive metal foundation. It’s an atmospheric finale, drenched in emotion and restraint, proving that sometimes what’s left unsaid can be just as impactful.
Despite this being their first studio album, Where Mountains Hide sounds like the work of veteran musicians. Guest appearances from Dan Briggs (Between the Buried and Me) and Eric Guenther (The Contortionist) add further layers to the album’s rich sonic textures, but the core of this record is undeniably Sometime In February. Even in a genre packed with progressive heavyweights, this band emerges with a singular voice.
As Auman notes, Where Mountains Hide was built on themes of optimism and forward movement. “I wanted the songs to stand on their own more, instead of making everything flow together like typical prog albums,” he shares. “But in the end, it naturally felt cohesive.” And indeed, the record achieves that rare balance—each track distinct, yet part of a unified, cinematic whole.
With this InsideOut debut, Sometime In February delivers a progressive metal album that is as sophisticated as it is heartfelt. Where Mountains Hide doesn’t just show promise; it solidifies them as one of the most exciting new acts in the scene.
For fans who crave progressive instrumental metal that blends technicality with emotional depth, this is an essential listen.
Release date March 21, 2025 on InsideOut
Available here: https://sometimeinfebruary.lnk.to/WhereMountainsHideAlbum
1. Palantir 04:37
2. Mourning Bird 04:57
3. The Bad Fight 04:12
4. Outside in 06:18
5. What Was Heard 0:51
6. What Was Said 04:44
7. Phantom Sea 04:41
8. Bury You 06:54
9. Homeworld I: Green Mountain 05:48
10. Homeworld II: Dislodged 02:38
11. Funeral House 02:52
12. There is Nothing Here But Technology (Bonus track) 02:59
Line-Up:
Tristan Auman – guitars
Scott Barber – drums
Morgan Johnson – bass
With guests:
Eric Guenther (The Contortionist) – sound design
Paul Waggoner (Between The Buried & Me) – guitar on The Bad Fight
Dan Briggs (Between The Buried & Me) – other instrumentation
Rich Castillo (The Callous Daoboys) – sax on The Bad Fight
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