Progressive death metal is a genre that often finds itself in the shadow of giants like Opeth, but every now and then, a band emerges that dares to carve its own path. Enter Dyed in Grey, a band that’s been quietly defying expectations for over a decade. With their latest release, Harbinger, they’ve returned to their roots while pushing their sound into uncharted territories. But here’s where it gets controversial: while Opeth’s influence is undeniable, Dyed in Grey’s approach is far more technical, improvisational, and—dare I say—raw. This isn’t your polished, radio-friendly prog; it’s a gritty, unpredictable journey that demands your attention.
Harbinger is only their third full-length album in thirteen years, a period marked by lineup changes and stylistic shifts. Their 2018 release, Anguish and Ardor, was entirely instrumental, but with a new vocalist on board, Dyed in Grey has reclaimed their vocal-driven identity. Founder Adam Edgemont’s vision is more refined than ever, blending the band’s progressive roots with a penchant for experimentation. And this is the part most people miss: their ability to seamlessly transition from light, almost Weezer-esque melodies to brutal, Alice in Chains-inspired grunge, all while keeping you guessing.
Unlike Soen’s cleaner, more polished take on prog, Dyed in Grey embraces rawness. Their use of off-key notes and improvisational turns gives their music a sense of urgency and authenticity. Tracks like “Sunbird” and “Ascent” start with a breezy, almost carefree vibe, only to suddenly erupt into heavy guitars and monstrous death growls. It’s this dynamic contrast that makes Harbinger so compelling. Take “Mirrored Ruins,” for example—its unexpected riffage is nothing short of brilliant, proving that Dyed in Grey isn’t just another Opeth clone.
Jazz influences are woven throughout the album, most notably in the band’s ability to pivot on a dime. “Static Tides” is a masterclass in this, shifting from growls to clean vocals, arpeggios to blasting riffs, all within moments. Similarly, “Descent” bounces between off-tune riffs and melodic leads before diving into technical death metal. But don’t let the unpredictability fool you—Harbinger is far from chaotic. There’s a clear structure here, with recurring riffs and catchy passages that tie everything together. It’s a delicate balance, but Dyed in Grey pulls it off with confidence.
That said, Harbinger isn’t without its flaws. The angular, sometimes atonal nature of the music can be off-putting, and the clean vocal performances occasionally struggle with pitch. The death metal riffs, while powerful, lack the punch they could have with stronger production. Yet, these rough edges feel intentional, aligning with the band’s rugged character. It’s a fine line between enjoyable and cringe-worthy, and Dyed in Grey mostly lands on the right side of it.
What initially struck me as disappointing has grown into something far more intriguing. Harbinger isn’t perfect, but it’s a bold step forward for Dyed in Grey and a must-listen for prog death fans. It’s a testament to Edgemont’s growth as a songwriter and the band’s willingness to take risks. But here’s the question: does their unique blend of styles elevate them beyond their influences, or do they still fall short of the masters? Let me know your thoughts in the comments—this is one debate I’m eager to hear.
Rating: 3.0/5.0
DR: 9 | Format Reviewed: WAV
Label: Self-Released
Website: Bandcamp | Facebook
Releases Worldwide: January 23rd, 2026
