[8/10] Believer may have never achieved any real major success on the same level as Cynic and Pestilence during their eight years together (the band formed in 1986, before eventually splitting in 1994), but the influence Believer left on many acts in their wake was certainly felt in the years that followed.

Now, 16 years after the release of their third and final studio album Dimensions, vocalist/guitarist Kurt Bachman and drummer Joey Daub have resurrected Believer (alongside ex-Mayday Pulse guitarist Kevin Leaman, bassist/programmer Elton Nestler and Fountain Of Tears keyboardist/programmer Jeff King), signed up with Cesspool Recordings (Killswitch Engage vocalist Howard Jones’ imprint label through Metal Blade Records), and returned with their fourth full-length effort Gabriel.

It’s been a while since Believer have released something new, but they’ve lost nothing in their time away, with the opening track “Medwton” one huge seething mass of crushing jagged thrash riffs, scathing vocals from Bachman and an injection of melodic solo work from guest guitarist Deron Miller (CKY/World Under Blood). Throughout the song’s seven minutes, it continually twists and turns from one complex riff structure to the next in true progressive fashion, but all the while offering up plenty of pure head-banging moments for the listener to completely thrash out to.

The subtle keyboards in the slower paced “A Moment In Prime,” “History Of Decline” and “Stoned” add plenty of theatrics to the band’s progressive thrash sound, while the experimental “Redshift” is quite possibly one of the album’s most memorable efforts with its huge infectious chugging riffs, swathes of melodic keyboards and its reoccurring breakdown passages where the bass and drums provide some cool breathing space.

Both “The Need For Conflict” and “Focused Lethality” help steer the album back toward the more straight-ahead thrash territory, while “Shut Out The Sun” and “The Brave” (which features a guest vocal appearance from Jones alongside Bachman) are a little more melodically inclined, and by far two of the album’s more accessible efforts.

Finishing up the album is the lengthy instrumental “Nonsense Mediated Decay”, which over its 12 minutes (that’s including the three uncredited tracks that follow) sees the band throw all sorts of experimental sounds, loops, spoken word passages, programmed sounds effects and musical outtakes pieced together in odd arrangements. Despite sounding like a complete mess, it makes sense for the most part, and kind of ties in with the kind of odd/mind-bending sound that Believer has prided themselves on.

Back in the day, Believer managed to release albums that although brought the band critical acclaim, only managed to attracted an underground cult following. Time has moved on, but with the release of Gabriel, at least Believer has the opportunity to finally really connect with a wider audience. After all, the band’s continued critical acclaim in the wake of Gabriel is already assured.

www.believerband.net