Simplifying a style is typically seen to be a detrimental process. The Agonist would prove otherwise with Eye Of Providence, their first effort without Alissa White-Gluz, who moves on to Arch Enemy fame and fortune. As good fortune favours The Agonist, they aren't at a loss but a difference with a new vocalist in Vicky Psarakis, who finds her own zone and fronts the band's most direct and focused record to date.

All the pseudo-progressions of Prisoners are dropped in favour of a sound comparably static in style, but more instrumentally energised in its melodic death metal punches. Metalcore continues to grant an edge of distinction, though the song writing is noticeably less exploratory in comparison to prior efforts, as the direction of Eye Of Providence lies in melodic consistency over originality. One won't find the fascinations of Lullabies For The Dormant Mind, which remains their most well conceived and original record. Yet this is not to deny the strength of a rhythm section very much in the here-and-now of melodic death metal, and one in constant activity and motion; there's no stopping or resisting it, frankly, and performance values are at an all-time tightness for The Agonist. For what's static in style, the musicianship involved is electrically charged and crucial to the band's most readily engaging effort yet.

Considering a cut like "Perpetual Notion" as representative of the album overall would be appropriate, as its focus on melodic recurrent riff and ongoing rhythmic energy carries the new-found vocal range in Vicky's growls to cleans. Listeners will notice her preference for clean arrangements, which understandably possess a greater diversity in delivery than her harsher side, which she ultimately capitalises upon as much as is possible. This will strike a contrast in the experience from the presence that Alissa previously filled as the band's voice, her growls obviously being the primary draw. Arch Enemy acquired her talents for a reason, after all.

Psarakis' range is well demonstrated right from the opener in "Gates Of Horn And Ivory," which alternates between harsh and clean with ease and obvious control, establishing the contrast which remains just as consistent as the instrumentation throughout. It's in the album's closing numbers where particular points of difference are made in song structure, as in the softer acoustic led piece "A Gentle Disease" and the final "As Above, So Below," which runs rather differently in its eight minute duration and is the most ambitious of the album's thirteen tracks, ending Eye Of Providence on a differentiated note.

The streamlined nature of the record is made all the more apparent with a finer and thoroughly modern production this time around, with a clear guitar sound within the mix steering the very direct approach of the rhythm section, which manages to acclimatise Psarakis' vocal arrangements without overcompensation or overpowering.

For the most part, The Agonist's efforts without Alissa White-Gluz certainly aren't without merit despite the straightforward and less innovative approach taken with this record. Consistency is upheld and Eye Of Providence sees its greatest strength in its focus accompanying the new voice of Vicky Psarakis.

Review written by R'Vannith for www.metalstorm.net