Structural Disorder – Kingdom Crossing – EP Review

Artist: Structural Disorder

Album Title: Kingdom Crossing

Label: Independent Release

Date of Release: 4 September 2020

You’d think by now, that I’d get used to news of bands splitting up, retiring, or disappearing. But no. Every time I hear another band has ceased to be, it fills me with a sense of sadness and disappointment, especially when it’s a band that I am rather fond of. Unfortunately, the name Structural Disorder is now a name that will be consigned to the annals of history because they have called it a day. Actually, the Swedes called time on the band quite some time ago, but before they shuffle off to pastures new, the guys have given us one last hurrah, in the form of a one-track EP by the name of ‘Kingdom Crossing’.

It may only be a one-song EP, but it is a near 24-minute affair that provides a fitting swansong for a band that showed so much promise over a career that spanned seven years and three full-length albums. It also serves to remind us all just how disappointing it is to lose such a band.

At nearly 24 minutes, you’ll not be surprised to learn that the composition takes a number of different twists and turns throughout it’s life. And neither is it in a hurry, taking its own sweet time to develop various sounds, ideas and textures. The first four minutes are quiet and introspective, dominated by some bold synth sounds initially, before introducing a lovely melodic section that grows stronger with repeated listens. Acoustic guitars, relaxed drumming, nuanced bass-work, and gentle synth tones are overlaid by sensitive vocals, providing a relatively melancholy atmosphere. At the four-minute mark though, things change for the heavier.

The landscape intensifies before we’re hit with some classic, groovy progressive metal riffs, channelling a little Shadow Gallery if I’m not mistaken, in terms of tone and delivery. Either way, it’s an addictive affair. The extended instrumental workout includes synth solos and yet more boldness from the electronics, lending a more modern slant. As things progress and the twists and turns continue, we’re treated to more of a djent-style heavy, thunderous down-tuned riff or two, not dissimilar to more recent Haken, but in no way derivative.

A reprise of the serene opening melody mid-way through, during a quieter passage serves as a reminder just how effective it is, especially when it is beefed up by heavier, distorted guitar accents, which then segue into an emotional and melodious guitar solo.

If I had one criticism about this impressive composition, it would be that it’s likely to be the very last thing we’ll hear from this impressive band. When the ambition, dexterity, and skill is so high, it’s not an easy thing to accept. Nevertheless, if the old adage is to be believed, you should always leave the audience wanting more. As far as Markus Tälth (Guitar/Vocals), Jóhannes West (Electric Accordion/Vocals), Erik Arkö (Bass/Vocals), and Karl Björk (Drums) are concerned, that’s exactly what they have done. Thanks for the prog, guys, you will be missed.

The Score of Much Metal: 91%

Check out my reviews from 2020 right here:

Skeletal Remains – The Entombment Of Chaos