Subsignal – A Poetry of Rain [Things You Might Have Missed 2023]

Subsignal, the German progressive metal/rock outfit that rose from the ashes of Sieges Even, has gradually evolved from “a band I quite like” into “a core tenet of my musical identity,” and it pains me that they’ve never been covered on this site. Granted, even at their heaviest, Subsignal’s style of progressive metal leans toward gentleness, but they’re still no less heavy than some other groups featured on AMG. I hoped that after all this time their newest opus might get a full review, and I was crestfallen that we never received their promo. I guess sometimes you’ve just gotta be the change you want to see in the world, and so it brings me genuine joy and catharsis to finally give Subsignal a spot on Angry Metal Guy with their excellent A Poetry of Rain.

Primary songwriter and guitarist Markus Steffen has woven an unusual, wet melancholy into Subsignal’s usual gentle prog. “Sliver (The Sheltered Garden)” hints at an ever-present gloom with eerily distant guitars and precise drumwork, while the burgeoning warmth of the keyboards in “Marigold” and “A Wound is a Place to Let the Light In” dispels the darkness. It’s worth noting that the careful restraint in Steffen’s songwriting makes A Poetry of Rain Subsignal’s most understated album to date, but no less impactful. Every song is a concise, individual experience that never overstays its welcome, allowing the album’s heart of soft sadness to always shine through. Steffen knows exactly when to let the energy rise or fall, until the music culminates in the sublime “The Last of its Kind,” a near-perfect apex of the album’s emotions whose final chorus (and killer saxophone solo) has cemented the song as one of my favorite Subsignal tracks.

It’s difficult to exaggerate how much A Poetry of Rain benefits from the irreplaceable vocals of Arno Menses. He is inseparable from Subsignal’s identity and appeal, and even if the music doesn’t resonate with you, I’d wager that Menses’ performance will move you all the same. His is that rare voice that sounds effortless in whatever he sings, be it during the powerful zenith of “The Last of its Kind” or in the solemnity of “A Room on the Edge of Forever.” A Poetry of Rain continues Subsignal’s liberal use of layered vocals with Menses’s voice mixed into those of the other members, and it sounds as excellent as ever. Some of the album’s best moments come from Menses singing atop the layered voices in “Impasse” and “Embers Part II: Water Wings.” Subsignal is full of talented musicians who are excellent at what they do, yet Menses’ masterwork pipes stand far above the rest.

The melancholy of A Poetry of Rain makes it an atypical Subsignal experience and a peculiar entry point to the band’s discography, but who cares? A Poetry of Rain still has everything that has always made Subsignal such an incredible band: poignant emotional clarity, subtle and skillful musicianship, and an unbeatable vocal performance from one of the best singers. I hope to one day be able to give them a full review, but even in this shorter format, it’s enough, and it’s everything. Please check this out, and then devour their whole catalog. And then do it again.

Tracks to Check Out: “Sliver (The Sheltered Garden),” “Embers Part II: Water Wings,” “Melancolia One,” “The Last of its Kind,” “A Room on the Edge of Forever”