[Cover artwork by Giannis Nakos / Remedy Art Design]
A rather impressive 12 years have passed since we last heard from Norwegian progressive power outfit Triosphere, which would normally indicate some level of internal upheaval or lamentable hiatus. Nope, just life and times, plus the added obstacle from our old friend the 2020 pandemic to further spice the pot. That stretched decade+ has essentially found the band comfortably optimizing songs—some written many years ago—and continuing to tour, with the biggest shift between 2014’s excellent Heart of the Matter to present date, beyond recruiting a “new” drummer (Kenneth Tårneby) waaaay back in 2014, bubbling up via a jump from AFM Records to Frontiers in 2025.
Despite what you may be thinking right now, the above sentiments are actually quite positive because: 1) Triosphere has always been really bloody good at what they do, and 2) Triosphere’s brand of power / prog slash prog / power that’s beholden to bands such as Nevermore, Evergrey and maybe a touch of Symphony X isn’t exactly the most traversed metal off-shoot in the year twenty twenty six, and even the bands that do play this particular style are hardly something most would consider prolific.
So, yeah, if the style happens to be your thing, you’re headed straight for nostalgic windfall territory. Add to that the fact that Triosphere vocalist Ida Haukland happens to be one of the best singers currently in the game, full stop, and suddenly the stakes are raised even higher. Brass tacks: I have always loved the instrumental side of Triosphere—excellent and plentiful soloing, seamless transitions into mellower stretches, and the way their more aggressive face has always reminded me of Forbidden. But Ida Haukland’s voice and her capacity to attach an intensely powerful hook to choruses and refrains on EVERY SINGLE SONG has always been the game winning goal / knock-down three / walk-off home run that ultimately makes Triosphere an essential piece to the heavy metal puzzle. For this reason, if the idea of a progressive power metal band being fronted by Ann Wilson (QUEEN) of Heart (my first concert in the ‘80s) piques your interest… My friend, you have just found your fucking Elysium.
I recognize that I alluded to the notion of ‘very little change’ in the Trio-camp since 2014, but longtime fans of the band will recognize a slight shift that pretty much falls in line with each of the shifts from one Trio album to the next, mostly dealing with the way the band continues to give a touch more emphasis on the power side of the equation as they move forward. Oceans Above, Stars Below is no different. No, I would not concede that they’ve lost their edge, as evidenced by “Of Tyrants” above, but the album does allow more wiggle room for mellow flourishes and R&R flourishes. Hell, there’s a beautiful little song that hits in the album’s back half called “Encore” that lands like Triosphere’s version of “Silent Lucidity” (hush! It’s a great song!), and I don’t recall them ever delivering a straight-up ballad before 2026. And even though they’ve flirted with a more commercial sound on songs in the past, a cut like “Shorelines” comes closer to a radio ‘hit single’ than they’ve ever managed to date. None of it feels corny, though, and “Shorelines” in particular mostly recalls how a modern band like Unleash the Archers similarly manages to bridge metal a more straightforward, hooky brand of rock.
Is the nostalgia angle necessary to fully connect with Triosphere and a record like Oceans Above, Stars Below in 2026? In other words, will progressive power metal of this ilk appeal to someone who remains unfamiliar with the style and didn’t experience its heyday as the late ‘90s rolled into the early aughts? I don’t believe so. But I did have to think about that for a minute. In the end, good music is good music, and Triosphere’s interpretation of the style doesn’t really sway deep enough into prog or power to sound too knotty or too sugary, so I choose to trust that anyone with an appreciation for catchy, melodic and powerful heavy metal could find plenty to enjoy with this record.
And as long as we’re on the topic of nostalgia, I think those who are quick to dismiss it due to some preconceived notion that it acts as a barricade to innovation are mostly just soreheads. I mean, I love innovation that pushes art as much as the next lunkhead, but there’s a reason granny’s peach cobbler recipe is guarded and lauded again and again as if it were shaped from a brick of gold. Humans are intrepid, make no mistake, but we also love reconnecting with great memories from the past, even when it’s someone / something new providing the connective tendrils. And with that in mind, I fully recommend grabbing a healthy slice of Oceans Above, Stars Below and reconnecting with, or introducing yourself to, the wonderful world of Triosphere.
Photo by Ronny Danielsen
