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VANISHING POINT
Distant Is The Sun

AFM (2014)
Rating: 8/10

I must admit to sitting on the fence when it comes to overtly modern metal that is saturated with polished melody. Vanishing Point are one of those talented bands tinged with gothic aplomb who deal in grandiose dynamics, soaring choruses and energetic arrangements. These Aussie rockers have been reasonably prolific over the last decade or so with Distant Is The Sun being their fourth opus this side of 2000, although their debut composition emerged back in 1997.

Vanishing Point do like to take their time between albums, however, and this methodical process of writing and recording comes to the fore on each of their releases – it’s actually been almost seven years since their last offering, 2007’s The Fourth Season.

The line-up has changed since the last record, with Simon Best replacing Adrian Alimic on bass and guitarist James Maier stepping in for Tom Vucur. Thankfully, the changes haven’t affected the sound of the band, with Silvio Massaro still responsible for those spiralling vocals, Christian Nativo still clattering the skins and Chris Porcianko shredding the axe.

Distant Is The Sun is a meaty opus which delivers 14 tracks. For those of you unaware of the band, well, upon first listen you may start to think that this is a glossy platter released by some European band, so it may come as a surprise when you discover they are from Australia. Even so, the quintet has what it takes to create epic-sounding metal which is often distributed in relatively harmless fashion, but features ascending melodies and heroic structures.

Within the framework of their sound Vanishing Point aren’t afraid to experiment, often relying on synths to dapple the icy guitars and ascending harmonies. After the short introduction (‘Beyond Redemption’), ‘King Of Empty Promises’ gets the opus under way with jabbing percussion and excellent craftsmanship with the twin guitar attack, which leads us to the wails of the chorus. It’s typically epic in its stature, before engaging us with a chunky gallop.

This takes us to the title track, which is one of the album’s meatiest moments – even with the sprinkle of synths. It is here where Silvio Massaro’s vocals really do come to the fore. His warrior-esque tones are inspiring – indeed, they are throughout – but with this track and the soaring ‘Let The River Run’, Vanishing Point manages to separate themselves from the countless hordes of other acts plying their trade in similar fashion.

All of the songs on offer are catchy throughout and often boast some truly mesmerising musicianship – especially on the racing ‘Circle Of Fire’ and the chugging ‘When Truth Lies’, which melts together gothic orchestration and cold steel guitars.

Vanishing Point are more effective at combining keyboards with heavier elements than, say, Rhapsody Of Fire who could be accused of being rather tepid in their percussion at times. Although I’d like to hear Vanishing Point opt for a more stripped down approach at times, the synths rarely annoy and simply allow the brooding aspects of the songs to breath. Again, I refer to the darker strains of ‘King Of Empty Promises’, which effortlessly combines mood, weight and glorious melody.

Distant Is The Sun exudes more technical swagger than the previous opus. The progressive elements which the band exhibit means that Vanishing Point circa 2014 are a far more formidable machine that should still please the older fans but no doubt bring in new fans along the way, especially as they play those open air festivals where their sound will most certainly thrive.

Neil Arnold

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