It’s been an amazing year for aggressive music, and for non-mainstream music in general. That trend continues with the fifth overall release from the Canadian progressive metal masters Protest the Hero, Volition. This release was entirely financed through the band’s incredibly successful IndieGogo crowd-funding operation in which they pulled in more than $340,000 of their requested $125,000, creating one of the most successful musically-related crowd-funding campaigns of all time (see Paper Radio’s column on crowd-funding and its implications for the future of music for more information).

Volition sounds like a culmination of everything Protest the Hero has conjured up on its first four releases, which, for fans of the highly acclaimed band, is a very good thing. It has the high-octane punk/metalcore hybrid sound and political lyrical content of their first two releases (A Calculated Use of Sound and Kezia), the virtuosic technicality characteristic of their particular brand of progressive metal showcased on their third release (Fortress) and the songwriting-focused progressive rock stylings of their fourth release (Scurrilous). All of these elements are combined effortlessly here, and they remain seemingly incapable of writing less-than-amazing music.

As is typical of all Protest the Hero releases, the songwriting here is densely layered and technical. Despite the time it will inevitably take to digest the album as a whole,  poppy hooks are littered throughout that will worm their way into listeners’ ears. This combination of density and catchiness makes for an intoxicating album. Guitarists Luke Hoskin and Tim Millar fly nimbly across their fretboards at ridiculous speeds, with Millar occasionally taking time out to grind away on interesting, sometimes jazz fusion-esque chords that embody his relatively fresh take on playing rhythm guitar. There are moments of calm in which the two allow notes to ring out for a more epic feel, and in a rare turn for the band, there are extended acoustic and clean guitar breaks that are not all about blistering speed and complex flurries of notes.

While the guitarists’ nearly unflinching technicality will be the first thing that the listener will notice, the bass of Arif Mirabdolbaghi is equally (if not more) impressive. Mirabdolbaghi plays with all the speed and precision of his higher register colleagues, but does so without a pick: He combines fingerstyle and pop-and-slap bass playing. He plays the typical role of holding down the low end and keeping the band grounded rhythmically, yet he’s also essentially playing lead. In the past, Mirabdolbaghi’s bass playing and writing have been highlights of Protest the Hero’s albums. Volition is no different.

The other half of the rhythm section, here played by session musician Chris Adler, is also no slouch. Adler plays a very different sort of style in his full-time band, Lamb of God, but with presumably extensive study of Protest the Hero’s back catalog, Adler steps up admirably. While one who is familiar with Adler will realize he is channeling ex-drummer Moe Carlson, to the untrained ear the differences are minute and perhaps even indecipherable. Adler flies over the double-bass pedals during the punk bits, hits all the important down beats when the action slows down and adds interesting and creative cymbal accents and fills throughout. All fans should be satisfied with what Adler has done in Carlson’s stead; he’s kept the spirit of Protest the Hero intact.

The final element that has always defined Protest the Hero and divided listeners is the operatic vocal performance of flamboyant, energetic and over-the-top Rody Walker. Walker’s vocals are firmly rooted in soaring 80s metal tradition. He resembles Rob Halford of Judas Priest or Bruce Dickinson of Iron Maiden combined with the pop sensibilities of Mike Reno from Loverboy. Walker is extremely talented and blessed with a massive range and immaculate, consistent tone, yet some may find his timbre a bit grating over time. His vocals have always been the make-or-break aspect of the band’s popularity, and they remain divisive on Volition.

Walker’s lyrics will also likely cause some controversy among fans. Walker has only been writing lyrics since the band’s previous release, Scurrilous, but his direct, utilitarian style was a grave departure from the poetic mastery that Mirabdolbaghi employed on Kezia and Fortress. Songs about Newfoundland, Star Wars vs. Star Trek and, most awkwardly, breed-specific legislation and the banning of pitbulls in Canada will not strike a chord with all fans. They leave no interpretation up to the listener in most cases and could hardly be called poetic except in the strictest sense. Furthermore, the disparity of lyrical topics (as on Scurrilous) keeps this album from feeling truly like an album and more like a collection of songs. Many listeners will probably be put off by the lyrical content and delivery, especially when compared to the brilliance of past lyrical output by the band.

The lyrics are really the only subjective flaw to be found on the record, however. The music makes up for the disparate lyrical themes by feeling cohesive from beginning to end. Album ender “Skies” may be the best closer the band has written, and it truly sums up (musically) all the territory they have traversed not only on Volition but throughout their careers. Other highlights include the satirical, vitriolic tirade against the music industry set to speedy punk on “Underbite,” the beautifully written love letter to Newfoundland on “Mist,” which contains some of the band’s most beautiful songwriting to date, and a revisiting of feminist themes on “Plato’s Tripartite,” which features some of the most fun melodies the band has written.

All of this is not to mention the great guest spots on the album from long-time collaborator Jadea Kelly to Canadian country singer Kayla Howran to Todd Kowalski, bassist/vocalist of legendary punk group Propagandhi.

Volition comes together musically and speaks so well to all that Protest the Hero have accomplished in its career that it would be a shame to miss this album, even for fringe fans of the band or genre. This is a strong contender for my personal album of the year and, if it had not been for the mildly off-putting lyrics, would go down as another perfect entry into the band’s catalog. The music is so expertly written and performed that it would be a true shame to miss this album no matter what one normally listens to. This is a challenging-yet-accessible, thought-provoking and fun album that has enormous replay value. Protest the Hero simply refuses to run out of steam, even on their fifth release of their relatively young careers. If they continue this output, they will be a band to watch out for as the band’s members continue to mature.

4.5 out of 5 stars

http://www.youtube.com/watch?v=a7pvvAuj7jw