What began as a deeply personal solo project has evolved into something far more expansive. Bergen, Norway's JAIME delivers their debut full-length "Above And Beyond" with the kind of ambition and scope that immediately sets them apart in the progressive metal landscape. This review is about music that attracts attention, rewards patience, and once again like so many we review at Elevar , refuses to be contained by conventional genre boundaries.

The Album Experience

The opening moments of "Old Spirits, Insects and Butterflies," makes it clear that this won't be a typical prog metal experience. The short, cinematic intro, with tribal percussion and layered vocal harmonies, establishes an atmosphere that permeates the entire 60-minute runtime. It's a bold choice that immediately signals the band's willingness to prioritize mood and storytelling over all things.

"Above and Beyond" wastes no time demonstrating the technical prowess at the heart of this project. The guitar work throughout is genuinely impressive, recalling the expressive leads of the likes of Steve Vai while maintaining its own distinct voice. Progressive rhythms interlock with keyboard layers that shift seamlessly through key and tempo changes, all anchored by drumming that balances technical precision with musical sensibility. The production quality is immediately apparent—everything sits in its proper place, allowing the complexity to breathe rather than becoming muddy or overwhelming. Highly impressive.

"Heaven Falls Heavy" showcases the album's dynamic range beautifully. The track builds from aggressive prog metal passages into atmospheric breaks featuring shakers, subtle synths, and clean guitar picking before climbing back toward rhythmic climaxes. The tribal vocal elements that emerge from quiet to powerful create a genuinely theatrical experience—the kind of moment that makes you feel like you're witnessing a large-scale stage production rather than simply listening to a recording.

Cinematic Ambition

The instrumental "Event Horizon" stands as one of the album's most imaginative pieces. The sonic landscape feels exploratory and intentional, with instruments weaving together to create something that moves and breathes like a living thing. There's a curiosity to the composition, a sense of discovery that makes the journey engaging even without vocals to guide the narrative.

"Power of the Sun" delivers straightforward progressive metal excellence—stellar riffs, intricate finger-picking, and production that allows every element to shine. It's a reminder that sometimes technical proficiency and solid songwriting are enough.

The Turn Toward Drama

"I Am Of All Things" marks a shift in the album's approach, bringing vocals and keyboards more prominently into the mix. The track is ambitious almost to a fault, layering theatrical choir arrangements with contrasting vocal styles and constantly shifting tempos. It's dense, complex, and occasionally overwhelming—but undeniably bold in its execution.

"One More Day" provides welcome relief, scaling back the density for a more straightforward rock approach while maintaining the cinematic flourishes that define the album. The contrast between lighter verses and powerful, choir-backed choruses creates an emotional arc that feels genuine rather than manufactured. There's a theatrical quality to the arrangement that brings to mind the storytelling ambitions of artists who use music as a narrative vehicle.

"The World Is For You" continues this more accessible approach with clean vocal harmonies and a rhythm that blends rock with subtle blues and what almost feels like—country influences? It's an interesting detour that demonstrates the band's range while maintaining the emotional core that runs through the entire album.

Building to the Climax

"The Brightest of Stars" is a masterclass in dynamic contrast. The track alternates between delicate melodic passages and massive walls of sound, never bothering with subtle transitions—it simply jumps between states, creating dramatic tension through sheer juxtaposition. The quiet middle section, featuring piano and echoing harmonies, builds with patient restraint before erupting into layers of sound that grow progressively more intense.

"In The End" opens with synthesized strings (or are they? We do have a real string section featured on this album) that evoke classic film scores before settling into a structure that alternates between intimate verses and dramatic choruses. A standout guitar solo captures the emotional weight of the composition, the instrument singing alongside the vocals rather than simply showcasing technique.

The instrumental "Lights" injects unexpected energy into the album's final stretch. With its spy-thriller atmosphere and funky, jazzy flourishes, it feels like a celebration of the band's versatility. The James Bond-esque swagger is undeniable and genuinely fun—a reminder that progressive music can be playful without sacrificing sophistication. This might be my favorite track, putting me in the mood for a good classic James Bond scene in that lovely little car, racing through the countryside.

Closer "With You By My Side" brings everything to a gentle conclusion. Clean guitar tones shine through, and a very tasteful solo at the 2:20 mark integrates perfectly with the song rather than calling attention to itself. It's a thoughtful way to end an album that's been pulling in so many directions throughout its runtime.

Production and Performance

Special mention must be made of the album's production values and the additional musicians who contribute to its cinematic scope. The inclusion of a live string section—featuring Natalia Bonner and Isabella Baker on violin, with Chord Worsey on cello—adds genuine orchestral depth that programmed strings simply couldn't replicate. The choir, conducted by Tore Kloster at Sælen Kirke in Bergen with arrangements by Robin Garen Aaberg, brings an authenticity to the theatrical moments that elevates them beyond mere ambition into genuine achievement.

The album was produced, mixed, and mastered by JAIME at HQ Studios in Bergen, and the attention to detail is evident throughout. Each instrument maintains its clarity even during the most complex passages, and the dynamic range allows the quieter moments to feel genuinely intimate rather than simply less loud.

Final Thoughts

"Above And Beyond" is an album that reaches for the stars and largely succeeds in grasping them. The guitar work throughout is exceptional, demonstrating both technical mastery and an understanding that technique serves the song rather than the other way around. The production is polished and professional, handling the album's ambitious scope with confidence. The dynamic range—from whisper-quiet introspective moments to massive cinematic crescendos—keeps the journey engaging across its full hour.

This is music that could easily translate to film scoring. The compositional skills on display suggest a talent for understanding how music shapes narrative and emotion, and it wouldn't be surprising to see members of this project contributing to soundtracks in the future.

JAIME has created something pretty ambitious with "Above And Beyond." It's an album that doesn't apologize for its theatrical sensibilities or its willingness to jump between styles and moods. The musicianship is consistently impressive across the board, the production is top-tier, and the vision is clear. For listeners willing to invest in its 60-minute journey, there are substantial rewards waiting.

Standout Tracks: "Above and Beyond," "Event Horizon," "Lights"