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 with a unique voice that demands attention. Enter Dyed in Grey, a group that’s been quietly carving out its own space in the scene since their 2013 debut, The Abandoned Part. While Opeth was veering into pure prog territory, Dyed in Grey stayed true to their roots, blending technical prowess with improvisational flair. Their latest release, Harbinger, marks only their third full-length album in thirteen years—a period marked by lineup changes and stylistic evolution. But here’s where it gets interesting: after going fully instrumental on 2018’s Anguish and Ardor, the band has returned to their vocal-driven origins with a renewed sense of purpose, thanks to founder Adam Edgemont’s refined vision and a new vocalist.
Unlike Soen, whose prog sound leans toward the polished and clean, Dyed in Grey embraces a rawer, more unfiltered approach. Their music is filled with off-key notes and a sense of urgency that feels authentically lived-in. Tracks like the opener “Sunbird” and the early moments of “Ascent” are deceptively light and breezy, almost reminiscent of Weezer’s carefree vibe. But don’t be fooled—this band can pivot on a dime, diving into ’90s grunge-inspired grit on tracks like “Silent Symmetry,” which channels an Alice in Chains-like gruffness. And just when you think you’ve got them figured out, they throw in an Opethian twist, with heavy guitars and monstrous death growls erupting unexpectedly. These moments are cathartic, particularly on “Mirrored Ruins,” which boasts some of the album’s most memorable riffs. But here’s where it gets controversial: while Opeth’s influence is undeniable, Dyed in Grey manages to avoid being a mere clone by injecting their own improvisational jazz-inspired twists.
Speaking of jazz, Dyed in Grey’s ability to flip between styles mid-song is where they truly shine. Take “Static Tides,” for example, which seamlessly transitions from growls to clean vocals, arpeggios to blasting riffs, all within a matter of seconds. Similarly, “Descent” keeps you on your toes with off-tune riffs one moment and melodic leads the next, before exploding into technical death metal. And this is the part most people miss: despite the unpredictability, Harbinger is far from a chaotic mess. The album maintains a strong structural backbone, with recurring riffs and catchy passages—like the chorus of “Tempest”—that tie everything together. It’s a delicate balance, but Dyed in Grey pulls it off, ensuring each listen reveals something new.
That said, Harbinger isn’t without its challenges. The angular, sometimes atonal nature of the music can be off-putting, and the clean vocal performances, while fitting the band’s grungy aesthetic, occasionally struggle with pitch. The death metal riffs, though well-produced, lack the punch needed to truly stand out. But here’s the question: does this make the album a failure, or is it part of its rugged charm? The growls, at least, pack enough power to keep things moving, and the band’s rough edges ultimately feel intentional rather than sloppy. It’s a fine line, but Dyed in Grey mostly lands on the right side of it.
What initially struck me as disappointing has grown into something far more intriguing with repeated listens. While Dyed in Grey may not yet stand shoulder-to-shoulder with the genre’s heavyweights, Harbinger is a worthy addition to any prog death fan’s collection. It’s a testament to Edgemont’s growth as a songwriter and the band’s willingness to take risks. This album doesn’t play it safe, but it feels assured in its experimentation—a refreshing blend of styles that rewards patience and open ears.
Rating: 3.0/5.0
DR: 9 | Format Reviewed: WAV
Label: Self-Released
Release Date: January 23rd, 2026
Links: Bandcamp | Facebook
Thought-provoking question for you: Do Dyed in Grey’s rough edges enhance their sound, or do they hold the band back from reaching their full potential? Let me know in the comments—I’m curious to hear your take!
