“If you don’t believe in empathy, try to figure it out.”
2025 certainly wasn’t lacking in moody, alt-tinged modern metal. Various acts enjoyed a meteoric rise to becoming some of the biggest acts in the heavy music space and, in some cases, crossing over well into the mainstream, cementing themselves, for better or worse, as one of the new generation of “gateway” bands to the heavier underground. Accessible heavy music replete with a focus on hooky vocal melodies backed by modern progressive metal’s signature djent guitars seems to be the defining trend of the past year in metal, and the massive success of acts such as Sleep Token, Architects and the much maligned PRESIDENT, now veritable titans of the modern metal industry, reflect an insatiable appetite for the sound from an ever-broader audience.
As with any style and genre with a sizeable population, for every band that makes it big off a newfound interest in a particular style, there are many more underground acts who have yet to break out. Cold Night For Alligators are surely one of the latter, despite being active for over 15 years with three albums in their back catalogue, among them 2022’s sterling The Hindsight Notes. While that release saw the Danish duo truly coming into their own with a brand of introspectively anthemic modern prog metal which sits somewhere between the no-nonsense hooks of bands like Vola and the sprawling antics of more firmly progressive acts such as Leprous, With All That’s Left is the next stop for the band, marking the continued evolution of the Danes’ established sound into an ever more refined form.
The record’s modernity, with a distinctly contemporary aesthetic and sonic palette which integrates a remarkably wide palette of eclectic influences, is apparent from the outset. Cinematic harmonics and a percussive string orchestra which wouldn’t be out of place on a modern indie film score kick things off on title track and album opener “With All That’s Left”, offering more than a hint at the direction of the duo’s latest outing. The record’s core elements – Johan Pedersen’s distinctive vocals laden with angst that feels that much more genuine through its questioning exploration of identity and relationships, modern Scandinavian progressive metal’s hallmark angular, syncopated guitar lines underpinned by Nikolai Lauszus’ drums, and thoughtful, intricate sound design and overdubs – are tempered and challenged by its seamlessly integrated influences. “Dance For You” throws in a piano bridge and gothy clean guitars on top of Cold Night For Alligators’ post-hardcore melodic sensibilities; “Astonishing” on the record’s back half blends wailing muezzin-like chants with glittering synths and a restless main riff; and lead single “I Am Only Fear” takes things a few steps further. Its fusion of alt-pop, techy djent and a remarkably heavy Latin-inspired trumpet breakdown is a combination which might seem bewildering at first, but after a few listens becomes something you can’t resist going back to as one of the album’s standout moments.
The heavier side of the record integrates the diversity on show throughout, with the guitars and rhythm section given greater prominence. “The Blind Spots” floats between atmospheric guitar leads, mathy interjections and the crushing octaves of thall for a standout modern metal track replete with guitar solo, while “Bittersweet Echoes”, a quick follow-up to the mellow “.44 Lifeline” with a particularly snappy transition, sees more chunky modern prog metal on display, with traces of the band’s roots as a technical deathcore band and prog metal progenitors Meshuggah. Comparison to the latter is certainly helped by the sheer weight of the guitars and Eskil Rask’s metallic bass slinking along underneath veteran Jacob Hansen’s polished and contemporary production job. Ticking all the right boxes without feeling clinical, the surprisingly warm tone for such modern production fits well with the record’s personal, introspective nature.
While Cold Night For Alligators certainly feel the most at home on the heavier side of things, the record’s lighter tracks (comparatively speaking) are by no means afterthoughts, showcasing Cold Night For Alligators’ slick songwriting even with the intensity dialled back. Perhaps the best example of the record’s more conventional side is third single “.44 Lifeline”, which snaps up the jangly guitars of 2010s pop rock alongside the record’s pervasive strings and pianos for an uncomplicated slice of anthemic post-hardcore with an infectious refrain, along with “Changeling”, which flaunts a chunky, catchy main riff alongside atmospheric guitars and melodic bass interjections from session members Lui Broch Larsen and Rask. Leaving the guitars and acoustic drums entirely for a moment, “In The Dark” sees Cold Night For Alligators at their mellowest, a conscious break in the record’s heft for an alternative pop track which doesn’t quite escape feeling like an interlude, though it provides a welcome break at the midpoint of the album. Album closer “Melancholy Waves” integrates notes of euphoric blackgaze in its reverb-drenched guitars to leave things on a more optimistic note, providing a cathartic end to the self-conscious soul-searching over the record’s runtime.
With All That’s Left is an unapologetically modern record which does not shy away from sharp hooks coupled with a knack for seamlessly integrating complex progressive metal with a facility which few bands can claim. For all the record’s polish, Cold Night For Alligators channel an emotional heft which is reflected and amplified by the band’s adept songcraft, cleverly unconventional stylistic choices and highly capable performances. The result is a refreshing and compelling take on modern metal which feels all the more genuine in its emotionally biting restraint and honesty, a welcome alternative vision of the past year’s most inescapable trend in metal.
8/10
With All That’s Left will release on January 16th via Prime Collective, and can be pre-ordered here.