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Distorted Harmony

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• Distorted Harmony

Distorted Harmony is a progressive metal band from Israel. According to Metal Injection they are the first band to truly bridge the gap between modern progressive metal and the subgenre's success of the 80's and 90's. In the span of a single song, they present influences of early Devin Townsend, Dream Theater, Porcupine Tree, and Periphery. They show awareness of progressive rock and metal's infinite stylistic spectrum and the band absolutely explores many paths.

About Distorted Harmony

Genres: Rock , Metal

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Distorted Harmony – A Way Out (Album Review)

Flying low under the progressive metal radar last month was the new release, A Way Out , from Distorted Harmony , a band hailing from Israel. Despite their geographical origins, musically they hold more in common with the wave of new progressive bands from Australia such as Caligula’s Horse , Voyager and Teramaze due to the combination of crunch, melody and a little quirkiness to keep you a little off balance and engaged. The band themselves classifies its style as “a delicate combination of the complex progressive metal, the sound of modern alternative music, the unique harmonies of modern jazz and classical music, and some heavy shit”

The opening track, “Downfall,” is a solid introduction to the band. It begins with an arpeggiated keyboard riff that gives way to crashing, djenty guitars. Vocalist Michael Rose has a nice range that is reminiscent of Incubus and Dan Tompkins of Tesseract . Like current day Tesseract , Rose uses screams very sparingly in some of the more aggressive sections (though perhaps not quite as effectively as Tompkins ).

What’s great about Distorted Harmony is that just when you feel like you understand the structure of the song, they rip the carpet out from under you and totally change the direction mid stream. On “Awaken,” what starts as a catchy mid tempo ballad suddenly goes off course and derails into one of the most brutal riffs on the album before returning to the safe confines of the chorus to ride the song out. The combination of beauty and the beast is jarring at times. But, it makes you want to keep coming back for more. The band certainly know the value of effective dynamics. As “Awaken” ends, “Severed” brings the sledge hammer back into play. But, as usual, things are not always what they seem as the verse switches gears to a syncopated Incubus like riff. “Puppet on a String” is likely the catchiest song on the album. Once again, the band drops into a lower gear to flex their sense of melody. The chorus is reminiscent of a Tori Amos song (yes, Tori Amos !) once again highlighting the range of Rose .

“A Way Out” Album Artwork

Distorted Harmony never devolves into a shred fest. Each instrument serves the song and the song only. For “Ester” is a brief instrumental interlude that likely could have been further formed into something more. However, it’s a nice breather from the avalanche of chorus driven songs. It features some tasteful, cinematic synth work from keyboardist Yoav Efron . It is followed up with some more manic guitar riffing and solo work from both Yoel Genin and Amit Plaschkes . It feels like the band has the chops to go off in a Dream Theater direction with more focus on the shred. Instead they always keep their focus on the song.

The alternating currents continue with the ferocious “Anima” followed by another well written ballad, the title track. Next up, “Time and Time Again” deviates slightly from the successful formula as it is primarily keyboard driven and the closest thing to AOR that this band gets.

Distorted Harmony has delivered a killer and tight album, plenty of standout moments and oozing great talent and interesting ideas. You will find yourself listening to it on repeat. The catchy choruses that are turned sideways by the gargantuan riffage makes the music never sound stale. While this release could certainly be filed under the prog-metal category, it really transcends labels and is just well crafted music. There is a mindfulness of progressive rock and metal’s unbounded technical gamut and these guys are unquestionably unafraid of exploring many musical pathways. Do yourself a favor and give A Way Out a spin.

Released By: Self Released Release Date: July 19th, 2018 Genre: Progressive Metal

Band Members:

• Yoav Efron / keyboards
• Yogev Gabay / drums
• Michael Rose / vocals
• Iggy Cohen / bass guitar
• Amit Plaschkes / guitar
• Yoel Genin / guitar

“A Way Out” Track-Listing :

1. Downfall 2. Room 11 3. Awaken 4. Severed 5. Puppet on Strings 6. For Ester 7. Anima 8. A Way Out of Here 9. Time and Time Again 10. We Are Free 11. Someday

Combining memorable choruses with crushing, gargantuan riffs, Distorted Harmony delivers an album that should certainly be in everyone's prog-metal lists when the year is closing its curtains

• Songwriting 9.5
• Musicianship 9.5
• Originality 8.5
• Production 9

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Distorted Harmony

• September 8, 2017 Setlist

Distorted Harmony Setlist at Center Stage, Atlanta, GA, USA

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• Every Time She Smiles Play Video
• Children of Red Play Video
• Hollow Play Video
• Misguided Play Video
• Nothing (But the Rain) Play Video
• Downfall Play Video
• Methylene Blue Play Video
• Blue Play Video
• Natural Selection Play Video

Edits and Comments

2 activities (last edit by jem777az , 8 Sep 2017, 22:27 Etc/UTC )

Songs on Albums

• Children of Red
• Every Time She Smiles
• Methylene Blue
• Natural Selection
• Nothing (But the Rain)

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ProgPower USA XVIII setlists

Distorted Harmony Gig Timeline

• Sep 29 2016 Sjiwa Baarlo, Netherlands Add time Add time
• Oct 01 2016 ProgPower Europe 2016 Baarlo, Netherlands Add time Add time
• Sep 08 2017 ProgPower USA XVIII This Setlist Atlanta, GA, USA Add time Add time
• Jul 28 2018 Artmania Festival 2018 Sibiu, Romania Add time Add time
• Aug 16 2018 Haezor Tel Aviv, Israel Add time Add time

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Distorted Harmony – A Way Out

Distorted Harmony - A Way Out

• Rating: 10/10
• Release Date: 19 July, 2018
• Label: Self-released
• Musicians : Michael Rose – Vocals Yoav Efron – Keyboards Yoel Genin – Guitars Amit Plaschkes – Guitars Iggy Cohen – Bass Yogev Gabay – Drums
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I ’ll come right out and say it: I’m a huge Distorted Harmony fan. I discovered them in 2013, after their debut release, “Utopia”, and it was love at first listen. Their fresh take on progressive metal, combining heavy progginess with soaring melodies, instantly appealed to me, and I knew I had to keep an eye on them.

The year after they released “Chain Reaction”, which was a step up; the songs were more focused and distinct, the melodies more refined, and the interplay stronger. It also marked a slight change in style, with an increased emphasis on ‘djenty’ riffing and the introduction of electronic sounds. It proved that Distorted Harmony was willing to experiment and expand.

4 years later, we finally got the third album, and I, like many, was curious what the Israelis would bring us this time. I’m happy to say it was well worth the wait. Put simply, “A Way Out” is a stunning release, which more than exceeded my expectations.

To start, the artwork is gorgeous. The contrast of the dark, round shape and the bright light around it intrigues me, spreading out into a rich texture of nuanced colors. It paints a picture reminiscent of the music; layered and full of contrast.

Second, the production is excellent. The sound is clear and strong, and you can hear every instrument well. Many bands struggle with the concept of dynamics, but Distorted Harmony clearly recognize the value of a balanced production.

Most importantly, the music is absolutely stellar. In the years from the previous release, the band has grown in maturity and confidence, and expanded their sound for an an even richer listening experience.

Now, there have been a few changes, line-up wise. In late 2016, guitarist Amit Plaschkes joined the band as a sixth member. The following summer, original guitar player Guy Landau left and was replaced by Yoel Genin . This might be one of the reasons why “A Way Out” is the heaviest Distorted Harmony album to date. The guitars play a more dominant role, with the thick guitars filling most of the songs with real punch.

However, while heavy and chunky, they are used in an intelligent way, always adding meaning to the song. Sometimes they take center stage in form of a meaty riff, but just as often they complement either a melodic line, or a big, melodic wall of sound that Distorted Harmony do so wonderfully well.

Another difference is the prominent use of juicy, lively, electronic sounds on every song. This works incredibly well, and adds a lot of flavor, either bearing the main melody, or adding another layer of texture.

This slightly altered sound is presented to us in the opening track, ‘Downfall’. Starting off with warm and animated keys, it bursts into a vast outpouring of pure, melodic energy. A typical song structure follows, with verses building up to an immense chorus full of passion and inspiring lyrics. An instrumental breakdown fills the rest, with an elegant transition from buoyant keys to dense guitars. The stage is set.

Groovy, odd-time riffing follows in ‘Room 11’, the heaviest and most direct song on the album. With frenetic energy and at times aggressive vocals, this is an intense affair. Still, a smooth shift into alluring calmness adds depth, and shows Distorted Harmony’s biggest strength: the ability to elegantly transition from one soundscape to another.

‘Awaken’ is my favorite track, and certainly also the most progressive. Lasting close to 7 minutes, its vibe and structure remind me of another gem, ‘Methylene Blue’ from their previous album “Chain Reaction”.

Opening with clean guitars, the clear and soulful voice of Michael Rose soon joins in, leading the song through a moody, almost dream-like passage. Gradually building, the melancholic tenderness is filled with anticipation, and halfway through the song, the change arrives. Sharp guitars kick off an instrumental section that will delight every prog metal fan, with heavy guitars and complex rhythms abound. Twisting and turning, it eventually moves into a delightful texture of tender keys and powerful guitars, then into a big, epic and symphonic part reminiscent of Haken .

Finally, Rose returns with his gorgeous voice, his falsetto joining the rest of the band in a passionate crescendo. And then, like magic, we’re suddenly back at the beginning, with only clean guitars, piano, and Michael’s delicate voice. This is honestly one of the best songs I’ve ever heard. The range of emotion, the dynamics, the transitions, everything is at the highest level. Just mind-blowing.

Moving on into ‘Severed’, hefty guitars and vivid keys again dominate, backed by the ever-solid duo of Yogey Gabay and Iggy Cohen on respectively drums and bass. It’s a tune full of energy, which makes the gentle verses even more sweet. A solid track.

‘Puppet on Strings’ takes things down a notch, starting slow and melancholic. Rose’s stirring and precise phrasing leads the song, which has a nice ebb and flow. Midway through, we get some grand strings evocative of “Utopia”, eventually joined by the distorted guitars, forming another of those rich, compelling textures. This shows the band’s competence of mixing ingredients in inventive ways, while keeping true to their core sound.

‘For Ester’ is an exquisite instrumental, showcasing the various elements of the band. The beginning feels cinematic and somewhat uplifting, with piano and several layers of strings. It then glides into a heavier, darker section for a bit, before the strings return for a grand finale, blending with the dense guitars in a massive outburst of epic energy. The song ends as it started, with peaceful piano and strings, and it feels like you’ve been on a journey longer than the 3 and a half minutes it actually is. In such a short track, they manage to deliver an encompassment of all their instrumental elements, and doing so with elegance and precision.

‘Anima’ sounds like a leftover from “Chain Reaction”, with its chaotic, odd-time opening riff and guitar-driven approach. In typical fashion, the heavy energy is contrasted with a smooth, softer chorus, again satisfying both the head and the heart.

‘A Way Out of Here’ is a short, graceful ballad, again led by Michael Rose’s charismatic voice. It’s thoughtful and tender, with a palpable sense of longing and sadness. The emotional climax is incredibly powerful, with Rose pouring his heart and soul and out, begging to “find a way out of here”.

‘Time and Time Again’ was a single, and one which I immediately loved. In fact, it’s my second favorite on the album. Starting with sparkly keys, it soon goes into a hefty guitar and keyboard unison riff, before easing into a peaceful verse section. The mood changes for the more dramatic, and then it builds up to an intense, heart-felt chorus with one of the most powerful melodies I’ve ever heard. A second verse is followed by a powerful instrumental breakdown, before the chorus once again embraces you with all its glory. Being a keyboard-driven track, it fittingly closes out with delayed keys fading out into the stillness.

‘We Are Free’ wastes no time, starting off with vocals and driving guitars. Adding layers, I think you can guess what’s coming next? Yep, it builds up to a big chorus, with passionate vocals, chunky guitars and intriguing keys. In many ways, this song is a perfect example of what the album’s about. The instrumental breakdown starts off with tasty electronics, before fat guitars takes over, with even some blast beats thrown in the mix. It returns to the chorus, again ending a song with several layers around a glorious vocal melody.

And then, the album closes off with ‘Someday’. And what an ending. Again, the intro is thoughtful and cinematic, with piano, synths and strings washing over you with glorious pensiveness. Then, the voice of Michael Rose enters and gives us one last masterclass in the art of conveying emotions. Switching between thoughtful tenderness and anthemic choirs, also this follows the template Distorted Harmony do so well; adding layers and building up to a big soundscape. And suddenly, only the piano and keys are left, with an intricate set of chords and melodies, leaving you with a feeling of longing, yet a touch of hope.

So, how do I sum up all of this? In short, I’m in awe. There’s always a risk one of your favorite bands might disappoint you, but that is definitely not the case here. “A Way Out” has everything I love about prog, and is crafted and executed with tremendeous feeling, precision and finesse.

The vocals of Michael Rose are simply stunning, and elevates the songs to a higher level. The chunky guitars add punch and groove, but are never over-used, instead being utilized in inventive ways, either as the driving force of the song, or as a meaningful compliment to a vocal or keyboard line. The keys really add another layer of richness to the songs, creating atmospheres, either with lush strings or tasteful electronics. And the bass and drums provide the foundation, perfectly switching between all the transitions with style.

Most importantly, Distorted Harmony truly are a band. Every instrument fills its part of the puzzle, and the chemistry between them is excellent. They are also terrific songwriters, and while most of the songs are relatively short, they offer tons of complexity, depth and beauty. Moreover, they are masters at creating mature, intelligent compositions, full of smooth, dynamic transitions.

“A Way Out” is simply a flawless album, and an epitome of how modern prog metal should sound like. Distorted Harmony are here to stay, and I’m already eager to see where they go next.

• Puppet on Strings
• A Way Out of Here
• Time and Time Again
• We Are Free

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About the Author

Born and bred on the west coast of Norway, Øystein has been a proghead since 2009, when he fell in love with Symphony X. Since then, he has discovered plenty of bands, many which he has seen live, somewhere in Europe. His favorite style is melodic progressive metal, but he also enjoys other genres such as power metal, neo-prog, and classic progressive rock, to name a few. Øystein considers a great melody more important than a cool riff, and greatly prefers bands with keyboards. Besides travelling and listening to music, he likes to watch soccer, read (mostly) non-fiction books and spending time with his nephew and nieces.

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Album Review: DISTORTED HARMONY A Way Out

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Chain Reaction

Distorted harmony, july 3, 2014.

At times I find myself baffled when I come across a band that remains unsigned. Israel's DISTORTED HARMONY is one such act; a modern, liquid take on Progressive Metal, the likes of VOYAGER and TERAMAZE , 2014 seeing the release of their second, much-awaited album, "Chain Reaction" . To fall in love at first listen with a band, should speak wonders about the quality of their music.

"Every Time She Smiles" treads the fine line between commercial/catchy, and otherworldly/unorthodox. The introduction is constructed of a blissfully engaging myriad of sounds and a build-up that subtly grows in power, with chord progressions grabbing at you like hands with sheathed claws. The riffs smack you in the face with that unmistakably Proggy embellishment of fluent and plentiful licks. The vocals are unique to the band, similar in delivery to those of VOYAGER's Daniel and ANUBIS GATE's Henrik ; they seep in and out of powerful, chorus-friendly belts and fluent, jazzy, easy-listening deliveries of poetry. "Children of Red" is one of the album's heavier tracks, with masterfully arranged rhythmic deliveries, full of delicious, disjointed syncopation, brimming with melodic and technical grooves.

"Hollow" has a about it a strong presence of groove in its riffs. The vocals in this track, even when compared to previous tracks, bounce around with a pure grasp of range and melodic progressions, and the choruses are belted out with a primal energy. "Natural Selection" draws heavily from the technical Prog of DREAM THEATRE ; easily one of the thickest and most complex 5 minutes of arrangement on the album. Our sense of sound is kept in limbo, with constant alterations of timbre; thick decants into thin almost instantly, and the erratic changes are incessant. Slow to complex; heavy to melodic, oftentimes reversed and juxtaposed.

"Chemical Reaction" is definitely one of the year's best melodic releases, and an extremely ambitious Prog album in its own right. It is my hope that they see the same jump in success as ANUBIS GATE and TERAMAZE did, following the releases of their respective masterpieces.

Masterpiece

" Chain Reaction " Track-listing:

1. Every Time She Smiles 2. Children of Red 3. Misguided 4. Nothing (But the Rain) 5. As One 6. Hollow 7. As You Go 8. Natural Selection 9. Methylene Blue

Distorted Harmony Lineup:

Misha Soukhinin - Vocals Guy Landau - Guitars Yoav Efron - Keyboards Iggy Cohen - Bass Yogev Gabay - Drums

Published by Independent

Distorted harmony official website, find distorted harmony on social media.

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Music | Review: Iconic R&B acts combine forces to…

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Music | major heat wave moves over bay area; overnight temps will stay high, music | review: iconic r&b acts combine forces to kick off tour in grand fashion, swv, xscape launched queens of r&b tour in concord.

And the show turned out to be as great, and maybe even better, than fans could have hoped for, as the two trios mixed and matched songs — and, most wonderfully, occasionally shared vocals — during the course of a thoroughly entertaining co-headlining set that touched on (at least parts of) some 30 songs.

Fans who are planning to catch this tour — also featuring fellow ’90s R&B favorites Mya, 702 and Total — as it continues through other parts of the country, before winding to a close at the Kia Forum in Los Angeles on Aug. 18, should expect to have a ball.

That’s because, only one night into the run, this SWV-Xscape package is shaping up to be the R&B roadshow to beat in 2024 .

One could feel the energy of the occasion well before they got to the Pavilion, as cars inched along Kirker Pass Road and passengers prepped for the show with shared laughter, smiles and passionate vocal work. Even though the traffic was horrendous, causing the Pavilion to use its overflow parking and shuttle service, people still seemed to be in a great mood (even though, in many cases, it caused them to miss some/many of the acts who were listed lower on the bill).

Yet, SWV and Xscape would make dealing with the traffic and parking issues feel very much worthwhile as they two acts combined for a performance that felt so different — and so much more vibrant — then what we often get with co-headlining treks.

Instead of the usual approach of the top two artists simply putting on their own sets of music — and perhaps rotating who gets to close the show each night — these two iconic R&B trios completely sewed their sets together and constantly volleyed the spotlight between them.

Xscape — featuring Kandi Burruss, Tameka “Tiny” Harris and Tamika Scott — would appear for a few minutes, running through such favorites as “Feels So Good,” “Can’t Hang” and “Keep On, Keepin’ On.” Then SWV — consisting of  Tamara “Taj” George, Cheryl “Coko” Gamble and Leanne “Lelee” Lyons — would pop up and croon through the likes of “I’m So Into You” and “Right Here.”

Of course, this kind of a show doesn’t work — at all — if the groups don’t jell well onstage. Fortunately, SWV and Xscape songs flow together like a masterful ’90s mixtape and, just as importantly, the two teams seem to like each other and enjoy combining forces.

It’s the latter that may surprise viewers of the 2023’s “SWV & Xscape: The Queens of R&B,” a reality TV mini-series on the Bravo channel that focused on the two acts as they prepped for a big tour. The two sides had a massive falling out during the show — fueled by the regular celebrity trappings of ego and trash talk — which left viewers with the impression that SWV and Xscape probably wouldn’t be sending each other Christmas cards anytime soon, let alone hitting the road together.

The two sides eventually talked things out, clearing the air as well as the runway to embarking on the road with the Queens of R&B Tour in 2024.

The result is that fans can now witness a show that has so much going for it — from a two-level stage that offers up plenty of zippy video elements to an energetic dance team to a steady supply of cool wardrobe changes.

Yet, none of that is nearly as important as the amazing vocal work that you get to hear during the course of the set. All six of star vocalists sound great, nicely conveying the same type of emotion and conviction that fans first enjoyed way back on their respective debut albums (Xscape’s “Hummin’ Comin’ at ‘Cha” in 1993, SWV’s “It’s About Time” in 1992).

They sounded terrific in their own individual spotlights, as Xscape relived such triumphs as “Who Can I Run To” and “My Little Secret” and SWV brought back the likes of “Right Here” and “You’re Always on My Mind.”

Yet, the most memorable moments came when the two vocal crews took the stage together, with six voices joining in glorious harmony to lift up 13,000 fans on the Clark sisters powerful gospel number “You Brought the Sunshine (Into My Life),” the gorgeous Xscape ballad “The Arms of the One Who Loves You” and the fun show-closing cover of Lil’ Kim’s “Not Tonight (Ladies Night Remix).”

Setlist: 1. “Can We” 2. “Feels So Good” 3. “Can’t Hang” 4. “Keep On, Keepin’ On” 5. “I’m So Into You” 6. “Right Here” 7. “Love on My Mind” 8 “What’s Up” 9. “Don’t Think I’m Not” 10. “You’re the One” 11. “You’re Always on My Mind” 12. “Use Your Heart” 13. “My Little Secret” 14. “Hold On” 15. “The Arms of the One Who Loves You” 16. “Is My Living in Vain” 17. “You Brought the Sunshine (Into My Life)” 18. “It’s About Time” 19. “Downtown” 20. “Softest Place on Earth” 21. “Do You Want To” 22. “If Only You Knew” 23. “Tonight” 24. “Rain” 25. “Who Can I Run To” 26. “Weak” 27. “Anything” 28. “Understanding” 29. “Just Kicking It” 30. “Not Tonight (Ladies Night Remix)”

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