Metal Underground.com

The boundaries between power and progressive metal genres appear closely related, but the ability to blend the controlled chaos of progression with the “epicness” of power metal is not as easy as it may seem. It has only been done to perfection by a surprisingly few number of the thousands of bands who have tried it over the years (Kamelot to name an obvious one). Within this realm, seemingly insignificant things such as song lengths can make all the difference between a band that blends it perfect and one that is good, but dreadfully boring to a non-musician. Italy’s Bejelit achieved the former, yet even after twelve years is still largely overlooked or shunned by the average power/progressive fan and larger label interest. Despite this lack of respect, throughout all that time the band simply reared back and succeeded in making each successive full-length release better, from 2004’s “Hellgate” straight on through the 2012 pinnacle, ironically entitled “Emerge.”

In many ways, “Emerge” takes on the energy of a newcomer. The band plays to the excitement level of a rare well-polished rookie, but with all of the age and experience of the veterans the members truly are. The addition of more progressive elements are well crafted and woven perfectly within the solid power metal base, packing the “wow factor” that acts as an ennui repellent, which a fan like me truly craves. For those listeners who have yet to discover this Italian gem, the band can be described as a mix of Rhapsody of Fire and Sonata Arctica, with a dash of Dream Theater.

Clocking in at just over an hour, “Emerge” takes the listener on a journey through all soundscapes and spectrums possible within the collaborating genres represented with charging anthems like “Emerge” and the brilliant “Triskelion,” and highly entertaining instrument variations of “Dancerous.” There’s also straight and short power crushers “Don’t Know What You Need,” “Fairy Gate,” and “The Defending Dreams Battle” and the pure majestic eleven minute masterpiece “Deep Water,” the embodiment of Bejelit’s capabilities. The musicianship, which cannot go unmentioned, features the remarkable guitar work of Sandro Capone and Marco Pastorino (who replaced Daniele Genugu), the well balanced rhythm section of bassist Giorgio Novarino and drummer Giulio Capone topped off by one of Italy’s finest cantantes, Fabio Privitera. It is no coincidence why most good Italian metal vocalists are named Fabio. Privitera blends a style of Tony Kakko and Peavy Wagner.

While the fuel driving “Emerge” is a testament to Bejelit’s overall musicianship, it’s the careful attention to added nuances which garner major style points. Whether they come in the form of the violin part in “Deep Water,” the guitar v. organ key solo battle immersed within the speedy power riffs of “Dancerous” or the fine acoustics of “Boogeyman,” there are too many times I was forced to sit in awe muttering “wow.”

If given the opportunity, there is little doubt Bejelit will impress fans of power, progressive, or the combination of the two. It would be an injustice for the band to continue to be overlooked even if it is lost in the variable sea that metal has become. With any luck, the band will finally “emerge” onto the CD/MP3 players of many more fans.