"Nevermore" as a name would seem quite inappropriate for this Seattle- based band, since they’ve continued to set the metal world on its ear from release to release, and the prospects of “Nevermore” are far-fetched at the least, as they’ve continued to move forward. Their newest, “Dreaming Neon Black,” follows up the well received “The Politics of Ecstasy” from ’96, and produces another winning formula between the band and renowned producer Neil Kernon.

For those unfamiliar with the band, forget what you know about the so-called “Seattle-scene.” It doesn’t apply here. In fact, Seattle as a city of origin is the only similarity between they and the outdated musical movement that began early in the 90’s. Originally begun from the ashes of 80’s greats Sanctuary, "Nevermore," now featuring original holdovers Jim Sheppard on bass and Warrel Dane on the vox, takes superior technical musicianship and deep songwriting mastery further into territory only previously passed through, but never fully achieved.

Those who’ve followed Nevermore these last few years, will be quick to pick up on the same thunderous aggression that’s typically available with their music, but also several additions to the content that’s sure to add to the appeal. At the onset, “Beyond Within” and “The Death of Passion” are powerful, as you might expect, before giving way to such enchanting little outcries as “I Am The Dog” and “Deconstruction.”

“Dreaming Neon Black," the song, is perhaps their most musically adventurous. Dane’s vocals parallel those of another known Seattle singer (maybe you’ve heard of him - Geoff Tate) in spots, as the song takes the form of an audible dream sequence, a disturbing one at that, but quieter than usual. A beautifully done piece incidentally, and an obvious stronger point than the band was willing to showcase earlier on.

The purpose behind the title “Dreaming Neon Black” indicates something of a concept which revolves around a man driven to madness and continually haunted by the memory of a lost love, which leads to tragic consequences as assured in the finality of “Forever” at the album’s end. However, where a song like “The Lotus Eaters” fits into this concept is something I’m not willing to take a stab at, at least not at this point. But like the song “Dreaming Neon Black,” it’s drearily presented and well sung, reminiscent to one of their tourmates, Overkill’s, slower tunes like “Soulitude” without the grand build up. And what’s this thing with Lotus'? Like a good old-fashioned Mercedes is going to pass through the digestive system any worse?

With the New Year having just begun, this is probably going to be one of the most pivotal for the metal industry. With the uncertain return of traditional heavy metal and the broadening of styles that’s been brought about through the increased demand for imported music, the scene slowly continues to evolve, which means there’s going to be plenty of room for a truly talented and unique band to take control. Thus far, with three solid full length releases under their belt, and plenty of international tour mileage under their feet, "Nevermore" can be that band. And in 1999, they are still directed to make all the right moves to insure their place is well kept at a fixed position near the top.