In the progressive metal arena, where riffs carve out sonic fractals and every break seems to defy the laws of physics, Celestial Ember stands out as a bold challenger. This Californian quartet—still in the shadow of the giants but spotted thanks to the release of the single “There Exists,” followed two years later by the EP ‘Absition’ released in 2020—delivers its first full-length effort, “All Real Numbers.” This album continues the progressive metalcore tinged with atmospheric ambience and existential reflections that began on their previous EP. But is this record the brilliant theorem we expected, or an appealing but incomplete equation?
With nine tracks and a running time of 35 minutes, “All Real Numbers” is an intense dive into the world of Celestial Ember, where the brutality of metalcore meets the sophistication of progressive rock. The production—remarkably clear for a self-produced project—showcases each instrument, from syncopated guitars to atmospheric textures. We find the band's DNA, influenced by Periphery and TesseracT for the djent riffs and polyrhythms, and by The Contortionist for the ethereal atmospheres. In “Puzzlemaker,” the addition of the saxophone with its melancholic and sensual notes—already noticed in “Absition”—brings an unexpected touch that reinforces the band's identity.
Alex Villarreal's vocals are one of the album's major strengths. In the title track, the lyrics “The vibrations from within / They resonate without the skin” evoke a quest for existence, supported by a voice that oscillates between angry growls and fragile melodies in a vein similar to Leprous. “Janus Mask” pushes this duality further with a saxophone that bursts forth like a cry in the night with its long, plaintive notes, adding dramatic—almost cinematic—tension and evoking an old film noir where raw emotion meets contained rage. This saxophone interlude, though discreet, reinforces the introspective nature of the track, echoing the atmosphere of “Absition I: Absence” from the previous EP.
The rhythm section shines with its precision. The drums—particularly in “Witch of Agnesi”—hammer out complex patterns that dialogue with the guitars without ever overwhelming them, while the bass—prominent in “Desperation”—pulses like a lifeline. The two-minute interlude “Y-Dwarf” stands out for its minimalist approach, with the guitar taking the lead with a jazzy, contemplative line. This moment of respite contrasts with the intensity of “The Sieve,” in which the saxophone returns in brief, furious bursts at the end—like brushstrokes on a djent canvas—adding a unique color to the syncopated riffs.
However, the album is not without its flaws. Some tracks, such as “131,” suffer from excessive density, where virtuosity sometimes seems to take precedence over emotion. The conceptual thread—which seems to explore themes of existence and duality (“Rise/Run” in particular)—remains vague, leaving the listener intrigued or even lost. The influence of Animals As Leaders/Polyphia is evident in the technicality, but Celestial Ember has not yet fully inherited the natural fluidity of its elders. One or two additional atmospheric breaks—perhaps carried by the saxophone—would have lightened the whole and given more room for emotion. But these caveats are more a matter of detail than a real negative point.
In answer to the introductory question, “All Real Numbers” leans resolutely toward the brilliant theorem. Celestial Ember delivers a debut album that—despite a few excesses of zeal—impresses with its mastery and ability to weave atmospheres that are as powerful as they are introspective. This first full-length effort is not the definitive solution to all the enigmas of progressive metal, but it remains a convincing demonstration that balances technique and emotion with promising audacity. This album will delight fans of Periphery, Leprous, or TesseracT, and anyone who loves metalcore with an extra dose of brainpower.