‘…a testament to an impeccable attitude towards challenging what oneself is capable of…’
Since the age of fifteen, Orlando’s Landon Noland has been hard at working carving out a career within music; open mic nights became radio plays, headline performances, and successful singles, and over time, Noland has evolved from a plucky up-and-coming jazz-inspired musician into an arbiter of something far more ambitious.
Since 2025, Noland has gravitated towards a dark, cinematic sound that pulls influence from progressive rock and metal, and after releasing an assortment of independent singles, Noland has stepped up to the challenge of producing his debut record; being a promising musician is one thing, but to deliver on that promise is another challenge entirely.
For Noland, hell is not some abyss of infernal flame, but the very earth we walk upon. Utilising his sonic palette to sculpt an apocalyptic sense of gloom, Noland sings of control and corruption across every level of the human race, personal to political, and does so with an irreverent, burning venom in his voice. It makes for a deeply atmospheric and thoroughly cohesive experience from start to finish, as Noland revels in his own darkness.
Opening number and title track ‘Cities of Babylon’ sets the tone impeccably, as Noland utilises sparse percussion and droning guitars to conjure up vivid, nightmarish imagery of a world never more connected yet never more divided. ‘Black Ink’ appears from the gloom with buzzing insects, before sprawling outwards with vicious defiance as Noland sings with emboldened gravitas. Deftly executed guitar solos pirouette across skittering percussion, whilst choruses leap forth with subtly infectious melodies, cymbals crashing with titanic weight.
‘Numbers’ is a sprawling, monolithic epic that details Noland’s experiences as a diabetic existing within a profiteering medical system, as guitars swirl atop of ceaselessly cascading percussion, driving forwards with rapturous menace. ‘Lockdown’ continues to explore Noland’s terse relationship with the medical industry through the lens of the deeply mismanaged COVID pandemic response, whilst ‘The Final Page’ utilises filthy distortion on its guitars and softly muffled percussion to paint apocalyptic scenes of a planet ravaged of all its beauty for the wealth of an elite few.
Noland’s approach in every aspect for this record feels decisive and clear; even as tracks approach the six minutes mark, not a single second is wasted on conveying something that does not contribute to the greater whole. Furthermore, despite feeling so far evolved from his musical roots, Noland is a natural at toying with dark soundscapes, enabling the record to feel all at once like a lost album from a 90’s alternative metal legend, and a very current envisioning of current affairs; it ultimately translates into a gripping, timeless listening experience.
The evolution of Noland as an artist has been nothing short of magnificent to witness; from promising jazz musician to a cultivator of his own brand of alternative metal and progressive rock, Noland has lost none of his charm, but has become twice the entertainer. ‘Cities Of Babylon’ is a culmination of years of hard work and dedication from Noland, and serves as a testament to an impeccable attitude towards challenging what oneself is capable of. The era of dark aura farming metal is upon us.
RATING: 80/100
For Fans Of: Dream Theatre, The Amazing Devil, Evanesence, Muse
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