When a band like Byzantine drops a new full-length after an eight-year silence, it’s not just a release, it’s a moment. Formed in West Virginia in the early 2000s, Byzantine have long walked a tightrope of technical precision and raw aggression. They’ve outlasted trends, survived breakups, and consistently delivered modern metal that is as cerebral as it is crushing. With “Harbingers”, their seventh album, they’re not just looking back, they’re planting a boot firmly in the now, with riffs sharp enough to split timelines and grooves groaning under the weight of intent.
Helmed once again by Chris “OJ” Ojeda, the band welcomes back long-absent founding guitarist Tony Rohrbough, while also introducing bassist Ryan Postlethwait to the fold. The result is a creative chemistry that fuses past and future, a war-scarred veteran band delivering a surprisingly invigorated performance. As Ojeda himself notes, this is the album most likely to ignite new fans. It may well reignite old ones, too.
“Harbingers” opens not with a sucker punch, but a slow, smouldering tease. “Consequentia” is a delicate instrumental, dialling in with a clean, melancholic progression reminiscent of Opeth at their most restrained. There’s a clear sense of intention here, a breath before the plunge. When “A Place We Cannot Go” hits, it’s not just a track; it’s an emotional fissure. With lyrics drawn from Ojeda’s own experience talking to his children about mass shootings in schools, the track lands with devastating clarity. Musically, it’s quintessential Byzantine, groove-heavy, melodically rich, technically sharp, but there’s a haunting gravity beneath the surface.
From here, the album unfolds like a hydra with a head for every metal mood. “Floating Chrysanthema” laces AI paranoia and WWII metaphor into a vicious prog-groove onslaught, its thematic density balanced by hooks that actually stick. “The Clockmaker’s Intention”, inspired by the S-Town podcast, is a standout, delicate in places, crushing in others. The dynamics are masterfully handled, and Ojeda’s vocals swing confidently between clean clarity and gritty rasp.
But it’s the back half of “Harbingers” where the album truly flexes its muscles. “Riddance” is a neck-snapper, a Gothenburg-tinged, Soilwork-schooled slab of controlled chaos, full of breakneck riffs and jagged tempo shifts. With lyrical nods to Indonesia’s Ma’Nene ritual and even a Meshuggah name-drop, it’s a frenetic cultural patchwork that somehow never feels messy.
Title track “Harbinger” is perhaps the most complete encapsulation of the band’s ethos, socio-political disillusionment, soaring solos, and riff architecture that blends groove with labyrinthine shifts. The dual-guitar interplay between Rohrbough and Brian Henderson is razor-tight, and Ojeda’s vocals hit a theatrical peak. If you’re not convinced by now, you’re simply on the wrong frequency.
“The Unobtainable Sleep” brings in Russian guitar virtuoso Andrey Gadzhibalaev for a mammoth solo section, a bold flex that pays off. The lyrics may be ambiguous, but the tone is rich with weight. “Kobayashi Maru”, meanwhile, is another concept-rich track wrapped in sci-fi sheen, revisiting Ojeda’s recurring alien lore with the swagger of southern-fried prog metal. If that sounds like a contradiction, welcome to the world of Byzantine, where contradictions form the foundation.
The album closes on “Irene”, an ode to Byzantine empress Irene of Athens, the only maternal ruler of the empire. Musically, it nods toward Mastodon and Load-era Metallica, taking a more restrained approach. It’s a comedown, but a worthy one, a slow burn that leaves you staring into the embers of what just happened.
One minor caveat: the early pacing may test more casual listeners. The decision to open with a subdued instrumental and a slower, emotive track could deter those hungry for immediacy. This reviewer found the second half considerably more gripping, not just heavier, but more varied and daring. That said, “Harbingers” rewards patience. Repeat listens pull back the curtain on the band’s intricate composition and thematic depth.
While personal biases may colour some responses, especially if, like me, your childhood was traumatised by an overzealous Rush fan, this album bears no such tedium. There’s technicality here, yes, but it never drowns the emotional narrative. It’s a show of skill with soul, an album rich in storytelling that respects the listener’s time and intelligence.
“Harbingers” is a statement of resilience. It’s not a reinvention, but a reaffirmation, a declaration that Byzantine are not just survivors, but master craftsmen. In a genre often maligned for brainless chugging, this is proof that groove metal can still think, feel, and evolve.
Rating: 8.5/10
Release Date: June 13, 2025
Label: Metalblade Records
Writer: Andy
Tracklist:
- Consequentia
- A Place We Cannot Go
- Floating Chrysanthema
- The Clockmaker’s Intention
- Riddance
- Harbinger
- The Unobtainable Sleep
- Kobayashi Maru
- Irene
