Shrine of New Generation Slaves
Riverside put melody and atmosphere ahead of constant heaviness on Shrine of New Generation Slaves. The Polish band's fifth album still has firm guitar riffs and busy instrumental exchanges, but Mariusz Duda's singing gives much of the music its direction. The result is approachable progressive rock with a darker mood beneath its polished surface.
New Generation Slave provides a concise opening. Its direct rock energy establishes that the band have not lost their interest in stronger riffs. Celebrity Touch takes a similarly accessible route, with a punchy guitar part and a catchier shape than some of the longer arrangements. It works best as a change of pace within the record rather than a complete account of what Riverside do.
The Depth of Self-Delusion is more reflective. Duda's vocal melodies sit alongside active bass and measured guitar lines, allowing the atmosphere to grow without making the performance feel empty. Deprived (Irretrievably Lost Imagination) takes that approach further. Its instrumental development leads towards a saxophone solo, adding another expressive voice without breaking the setting built by the band.
There is plenty of detail in the playing, especially where guitar and bass share the movement. The keyboards also contribute older progressive rock colours without making the album feel like a period exercise. These elements are usually tied to a recognisable song, so the instrumental skill has a clear role beyond filling the space between vocals.
Escalator Shrine gives the longer-form writing its main opportunity. Heavier passages, shifting riffs and a more patient second half make it less immediate than the shorter songs. Its transitions nevertheless keep a sense of purpose across the development. Coda then brings the album down to a short acoustic finish, returning to material from Feel Like Falling rather than trying to add another large climax.
The record's strengths are quieter than its title might suggest. Some of the direct rock tracks are less distinctive than the more atmospheric songs, and the longest piece needs patience before its shape becomes clear. Yet the balance between accessible melody and careful instrumental work is convincing. Shrine of New Generation Slaves offers a rewarding route into Riverside, with enough detail to keep its straightforward appeal from becoming shallow.
