Mastermind

Mastermind sounds like the missing link between the keyboard-heavy excess of 1970s prog and the razor-sharp precision of 1990s power metal. The music is dominated by the Berends brothers' chemistry: Bill's guitar work is uniquely thick, often using MIDI triggers to create symphonic textures that sound like a wall of synthesizers, while Rich provides a relentless, athletic foundation of percussion. It is music that feels constantly in motion, shifting through odd time signatures and heroic melodies without ever losing its aggressive, rock-and-roll heart.

What makes them truly distinctive is their 'faux-keyboard' approach. Instead of traditional synth players, Bill Berends uses his guitar to drive the orchestral elements, resulting in a phrasing and attack that feels more organic and guitar-centric than their peers. This creates a specific sonic density where the lines between lead guitar and symphonic backing blur. Their later work introduces operatic female vocals and darker, more apocalyptic themes, pushing them into a space that bridges the gap between Dream Theater's technicality and ELP's classical bombast.

Start with 'Angels of the Apocalypse' to hear their most realized, symphonic-metal vision, or dive into 'Excelsior!' for a masterclass in jazzy, high-energy instrumental interplay. It is the perfect discovery for listeners who find standard prog too polite and standard metal too repetitive.