by Victor Giol
Some debut records embody the result of years of dedicated refinement and Where Mountains Hide, the initial full-length offering from Sometime In February of North Carolina, exemplifies this type of breakthrough. It arrives with the grace and wisdom of an experienced ensemble, presenting a striking artistic declaration that distinguishes them in the realm of progressive metal. This trio has produced a debut that is as cinematic as it is complex, merging emotional resonance with technical prowess in a manner that is both bold and polished.
From the first track “Palantir,” it’s apparent that Sometime In February is forging their unique journey within progressive instrumental metal. Guitarist Tristan Auman, drummer Scott Barber, and bassist Morgan Johnson interlace a sound that is both rich and vast, combining the rhythmic strength and agility typical of the genre with soaring melodic elements. The trio constructs immersive soundscapes that are as narratively engaging as they are musically intricate.
Among the album’s most powerful pieces, “The Bad Fight” features collaboration with Paul Waggoner from Between the Buried and Me, whose passionate guest solo contributes an additional layer of intensity to the track. To top it off, Rich Castillo’s (The Callous Daoboys) saxophone introduces an unforeseen jazz-fusion flair, transforming the piece into something genuinely genre-defying. This capacity to alter moods and textures while remaining true to their sound is what makes Where Mountains Hide exceptional.
<p“Outside In” continues this trend, highlighting the band’s expertise in creating progressive works that are both demanding and melodic. The song’s complex time shifts and evolving forms never come across as aimless; rather, they draw the listener deeper into the album’s narrative, demonstrating that Sometime In February grasp the delicate equilibrium between intricacy and approachability.
“Phantom Sea” stands out as another key track, effortlessly merging influences from the cinematic prog-metal of Haken with the guitar mastery of John Petrucci-era Dream Theater. Still, the track maintains its individuality. Tristan Auman’s guitar performances are both virtuosic and emotive, offering solos and themes that resonate equally in a stadium or during a late-night listening session. While there are clear nods to prog-metal giants, “Phantom Sea” is firmly anchored in the trio’s unique identity.
“Bury You” takes the title of the album’s longest track at nearly seven minutes, showcasing some of the heaviest and most dissonant moments. There’s a notable intensity here, and perhaps influenced by the song’s title, hints of Between the Buried and Me’s darker, more angular stylistic elements begin to emerge. Following this sonic barrage, the band transitions into the two-part “Homeworld” mini-epic, which further enhances the album’s rhythmic intricacies and melodic elegance. This pair of tracks encapsulates the band’s strengths—balancing polyrhythmic segments, emotive guitar lines, and dynamic arrangements that showcase the trio’s talent for blending complexity with accessibility.
The album concludes with “Funeral House,” a gradually unfolding, blues-infused piece that allows the band to expand beyond their progressive metal roots. It serves as an atmospheric conclusion, filled with emotion and restraint, illustrating that sometimes what remains unspoken can be equally powerful.
Even though this is their inaugural studio album, Where Mountains Hide resonates like the work of seasoned musicians. Contributions from Dan Briggs (Between the Buried and Me) and Eric Guenther (The Contortionist) add further layers to the album’s rich musical textures, yet the essence of this record is unmistakably Sometime In February. Amid a genre filled with progressive heavyweights, this band emerges with a unique voice.
As Auman mentions, Where Mountains Hide was constructed upon themes of hope and progression. “I wanted the songs to stand out individually, rather than having everything blend like standard prog albums,” he explains. “But ultimately, it felt cohesive naturally.” Indeed, the album strikes that rare balance—each song distinct, yet each contributing to a unified, cinematic experience.
With their InsideOut debut, Sometime In February presents a progressive metal album that is as sophisticated as it is sincere. Where Mountains Hide doesn’t merely promise potential; it establishes them as one of the most thrilling new entities in the scene.
For enthusiasts who seek progressive instrumental metal that intertwines technicality with emotional substance, this is an indispensable experience.
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Release date March 21, 2025 on InsideOut
Available here: https://sometimeinfebruary.lnk.to/WhereMountainsHideAlbum
1. Palantir 04:37
2. Mourning Bird 04:57
3. The Bad Fight 04:12
4. Outside in 06:18
5. What Was Heard 0:51
6. What Was Said 04:44
7. Phantom Sea 04:41
8. Bury You 06:54
9. Homeworld I: Green Mountain 05:48
10. Homeworld II: Dislodged 02:38
11. Funeral House 02:52
12. There is Nothing Here But Technology (Bonus track) 02:59
Line-Up:
Tristan Auman – guitars
Scott Barber – drums
Morgan Johnson – bass
With guests:
Eric Guenther (The Contortionist) – sound design
Paul Waggoner (Between The Buried & Me) – guitar on The Bad Fight
Dan Briggs (Between The Buried & Me) – other instrumentation
Rich Castillo (The Callous Daoboys) – sax on The Bad Fight
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- Source: NEWHD MEDIA
