Originality is a rare currency in extreme metal. Over decades, subgenres have interwoven so intricately that standing out often means straying so far from convention that coherence becomes collateral damage. It’s unfortunate that “progressive” has become shorthand for a particular set of tropes rather than an ethos, because the self-titled debut from Spanish project Wintering Grounds is, in the truest sense, progressive death metal—not by adhering to well-worn prog metal formulas, but by genuinely pushing the boundaries of what death metal can be.
Comparing one band to another always feels like a disservice unless it’s deliberate homage, but if I had to, I’d describe Wintering Grounds as Fallujah filtered through the unorthodox sensibilities of Maudlin of the Well. The album thrives on a relentless intensity that’s periodically broken up by clean and melodic passages, yet these never feel like forced reprieves. Instead, they emerge naturally, woven seamlessly into the controlled chaos.
Let’s get into the details. Wintering Grounds is the brainchild of multi-instrumentalist Marcos Sánchez, and his musicianship is razor-sharp. Every instrument, whether played or programmed, is executed with precision. The guitars—layered with both crushing, intricate riffing and soaring melodic lines—create an auditory comma that is both dense and dynamic. The rhythm section is just as impressive, with basslines that do far more than simply anchor the riffs, frequently stepping into the spotlight to add depth and nuance. The drumming shifts effortlessly between blast beats and jazzy grooves, proving that technicality and groove aren’t mutually exclusive. And then there are the vocals—ferocious yet clear, striking a perfect balance between intensity and intelligibility.
Now, about the solos. In extreme metal, solos often feel like an awkward intrusion—perfectly at home in power metal or classic rock, but sometimes jarring in a genre built on raw aggression. Sánchez, however, understands restraint. When the lead guitar does break into a solo, it’s not a self-indulgent display of virtuosity but an organic extension of the song, a moment of elevation rather than mere technical flexing.
One of the most exhilarating aspects of Wintering Grounds is its unpredictability. Some albums stumble when they attempt to keep listeners on their toes, sacrificing cohesion for the sake of variety. That’s not the case here. Each of the four tracks feels distinct, yet all are unified under a singular vision. The songs evolve naturally, often beginning with atmospheric, prog-infused intros before erupting into colossal movements where guitars and vocals take center stage, bolstered by an ever-morphing foundation of drums, keys, and riffs. It’s the kind of songwriting that keeps you fully engaged—not just waiting for the next breakdown, but truly invested in where the music will go next.
The word “classic” gets tossed around a lot, but I honestly can’t think of a better word for Wintering Grounds. From front to back and top to bottom, this album is both firmly rooted in death metal with a progressive bend while standing alone atop the mountain. It’s equally headbang heavy and enthralling, music to get in the mosh pit and simply sit in awe of. This is required listening, because there’s nothing else quite like it.
Wintering Grounds is available on Bandcamp.
Some albums stumble when they attempt to keep listeners on their toes, sacrificing cohesion for the sake of variety. That’s not the case here. Each of the four tracks feels distinct, yet all are unified under a singular vision.
