Osyron – Momentous
Release Date: 4th November 2022
Label: Self Released
Bandcamp
Genre: Progressive Symphonic Metal.
FFO: Belphegor, Watain, MGLA, Behemoth.
Review By: Rick Farley
Canadian progressive symphonic metal band Osyron, based out of Calgary, Alberta, was formed in 2012. Having already released three full lengths, Momentous marks their fourth album, which the band believes it to be their strongest one to date. Osyron is bridging the gap between traditional European metal styles and the influence of their homegrown contemporaries, creating a uniquely powerful sound and lyrical content based deep in Canadian history. Taking their modern and progressive approach and pushing it even further.
Osyron’s musicianship and compositional skills are impressive. The record has a familiarity about it, not necessarily in a bad way, but more so that it’s very accessible and will bring to mind certain vibes in a memorable way. Technically complex riffs that are hooky, huge choruses, and traditional song structures make this an easy listen. Vocalist Reed Alton has a dynamic voice ranging from power metal filled high cleans to nasty low growls. Not to take anything away from the other musicians, they’re all very skilled, but his voice is incredible. He brings a ton of variance and personality to the already well-crafted songs. The guitars of Krzysztof Stalmach and Bobby Harley are a maelstrom of techy crunch, power ballad style chord progressions, shreddy leads, and modern progressiveness. Clearly accomplished musicians, the guitars bring a tight complexity and riffy heaviness to the record. The thick bass tones of Tyler Corbett are full and rich sounding. Drummer Cody Anstey brings the precise fills and technical groove, guiding everything together into one cohesive unit.
Despite being an enjoyable listen overall, the album does have a few missteps. Track four Landslide, while thrashy and heavy, has a very nu-metal barking vocal delivery during the verse, which sounds extremely out of place on the album. The song itself has a decent chorus, but that part sticks out like a sore thumb. On track eight Momentous, the first two minutes of the twelve-minute track is a folky acoustic passage with female chanting vocals. Again, it’s a matter of not gelling with the song or the record itself. I could have done without track four and part of track eight, and it would have improved the album overall. The album does suffer a bit from pacing, a few misplaced songs cause the flow to be confusing. It’s definitely not all worthy of complaint, though. Opening track Anunnaki starts off with an ominous middle eastern vibe exploding into growling vocals and djenty guitar. Soaring vocal highs take over the verse, leading to shredding guitar licks and chunky heaviness. The chorus is a beautiful, uplifting melody, complete with synths and distorted chords. The mix between high-pitched and screamed vocal lines of the highly mesmerizing Dominion Day are mind-bending. The track is complex, heavy, and progressive sounding. Beyond the Sun has a classic heavy metal feel, leaning towards power metal, but still maintains a hefty thickness. The song drives forward to a chaotic technical guitar riff and pounding drums before the fist pumping chorus hits like it’s 1988. This song stands out as the highlight of the album.
Because of its accessibility and mainstream metal appeal, Osyron should find its fanbase increase despite having, what I believe to be, several shortcomings. That’s the beauty of all this, in the end, it’s up to you. While this particular release didn’t grab my full attention, it has appeal for the masses and will surely be successful. 
(3 / 5)
