Storms Approach – Storms Approach
Man, oh man, this album hits different. Released back in 2007 by a band literally named after their own record (so meta, right?), Storms Approach is one of those hidden gems that feels like stumbling into an underground club where everyone’s too cool to talk about it later. It’s progressive metal at its heart but wears pop/rock influences on its sleeve—like if Dream Theater decided to chill out with Evanescence for a weekend and ended up writing some killer tunes.
Let me tell ya, Eric Clemenzi is basically the MVP here. Dude does everything: guitars, synth work, recording, mixing, producing—you name it, he probably had his hands all over it. And while Steve Belleville holds down the low end with basslines that rumble just right and adds those haunting backing vocals, Anne Heffernan steals the show as lead vocalist. Her voice has this raw yet polished edge, like she could belt out anthems or whisper secrets directly into your soul depending on what the song needs. Oh, and Chris Munroe? That guy doesn’t miss a beat behind the drum kit—he keeps things tight without stealing focus.
Now, let’s dive into two tracks that stuck with me because they’re just… unforgettable. First up, “Far From Harm.” This track slaps harder than you’d expect from the title. The opening riff grabs you by the collar and doesn’t let go—it’s heavy but melodic, kinda like being punched softly by someone who really cares about you. Then Anne comes in with these soaring vocals that feel both fragile and fierce, like she’s singing straight from her guts. There’s something so cathartic about how the music builds and breaks—it makes you wanna drive fast through empty roads or scream into the void or maybe both. Honestly, I’ve looped this song way too many times when life felt overwhelming; it’s my weird therapy jam now.
Then there’s “A Scandal in Bohemia,” which sounds like what Sherlock Holmes would listen to if he were into prog-metal (stick with me here). The whole thing feels cinematic, almost like a soundtrack to some epic mystery unfolding. The interplay between the guitars and drums creates this intricate web of sound, and Anne’s voice weaves through it like silk. What gets me every time is the shift halfway through—it slows down just enough to make you think, Wait, is this the calm before the storm? Spoiler: it totally is. When the heaviness crashes back in, it’s glorious chaos. Like, holy crap, goosebumps guaranteed. Every time.
The production deserves a shoutout too. For a self-released project under "Not On Label," it punches above its weight class. Thomas Eaton’s mastering gives it clarity without losing that raw energy, and Amy Lithimane’s design ties the whole package together visually. You can tell these folks poured their hearts into this thing.
So yeah, Storms Approach isn’t perfect—it’s rough around the edges in places, and maybe not every track lands equally—but damn if it doesn’t leave a mark. Listening to it feels personal, like you’re eavesdropping on someone else’s fever dream. It reminds me that music doesn’t have to be shiny and polished to matter—it just has to hit you where it counts.
And hey, fun fact: the album repeats a couple of tracks (“Far From Harm” and “A Scandal in Bohemia”) near the end. At first, I thought it was a mistake, but then I realized—it’s intentional. Kinda like saying, “Hey, pay attention again. This part matters.” Feels poetic somehow.
Anyway, if you’re looking for something off the beaten path, give Storms Approach a spin. Just don’t blame me if you end up obsessing over it. Trust me, though—it’s worth it.
