When Textures disbanded in 2018, their absence left a noticeable gap in progressive metal. Shaped by mathcore precision, djent heft, and an emotional clarity that very few peers at the time could balance. Seven years later, Genotype arrives as a recalibration record. Framed as the conceptual counterpart to 2016’s Phenotype, the record is written entirely from scratch and features the same lineup—vocalist Daniël de Jongh, guitarists Jochem Jacobs and Bart Hennephof, bassist Remko Tielemans, and drummer Stef Broks—returning with a renewed sense of purpose.
Rather than chasing technical escalation, Genotype emphasizes space, atmosphere, and songcraft. Self-produced by the band and their DIY mentality, and mixed by Forrester Savell, the album sounds modern and expansive. There’s a noticeable cinematic quality throughout—synths breathe, guitars blur and surge, and the rhythm section carries both groove and narrative momentum.
The opening instrumental, “Void,” functions as a welcoming score. Part epic rock overture, part ambient flare, it signals the anticipation of their return. That sense of arrival becomes explicit on “At the Edge of Winter,” their standout single, whose riffing and melodic contours recall Devin Townsend’s more anthemic moments. Featuring a guest appearance from Charlotte Wessels (ex-DELAIN), the track is full of intricate synths with polyrhythmic grooves, along with a powerful duet performance.
At nearly seven minutes, “Measuring the Heavens” is one of the album’s most ambitious compositions. A quiet, labyrinthine intro pulses. That is, before a massive riff was smashed onto your head midway! Surprising fans who are second-guessing if they’re done ditched all their “metal” that had listeners comparing them to Meshuggah.
“Nautical Dusk” has a thick, fuzzy guitar section at its midpoint that stands out, followed by a tasteful solo that reinforces the album’s encouraging tone. It embodies Genotype’s mission to give voice to those who often feel unheard—introverts, silent minorities, and people wrestling with internal struggles.
That emotional thread deepens on “Vanishing Twin.” A song about progressive flow showing a perfect example of not just pushing technical boundaries or shredding harder, but by letting the music breathe to make songs more effective and emotional. This track creates a sci-fi/mystery cinematic experience that I would blast while exploring the mysterious world of Horizon Forbidden West. This song channels a deep sense of isolation and displacement, drawing from personal experience to explore the rarely discussed phenomenon known as Vanishing Twin Syndrome.
Accessibility is also showcased in tracks like “Closer to the Unknown,” a strong choice for a single. It starts with synths reminding me of Linkin Park’s “Crawling”, while Daniël de Jongh’s range shines here. His voice moves from clean vocals to varied screams in the pre-chorus. It’s arguably the band’s most approachable song to date, showcasing their more synth-forward direction that even Tesseract fans could fall in love with.
“A Seat for the Like-Minded” reintroduces odd-time signature riffs swimming in layered synths reminiscent of Leprous. Closing track “Walls of the Soul” refuses subtlety. Opening with an ’80s nightwave-style synth, it eventually descends into the album’s heaviest passage. I’m talking downtuned guitars, layered screams, shreds, and crashing china cymbals, leaving the kind of final expression that stayed in my brain well after the album’s runtime.
Overall, Genotype refines the TEXTURES formula while upping the ante when it comes to the cinematic weight along with clarity, experimentation, and yes tehcnical prowess. It works equally well as an entry point for new listeners and a rewarding long-time fans who missed them in the past 7 years.
Listen Here:
https://open.spotify.com/artist/6v9XKyEf4HKmUMr3D6weIO
