Quadvium | Tetradōm | Agonia Records

 Quadvium is an instrumental progressive metal-fusion quartet with roots in both California and the Netherlands, formed in late 2019 by two iconic figures in extreme metal: Steve Di Giorgio (Testament, Death) and Jeroen Paul Thesseling (Obscura, Pestilence). Both musicians are recognized for their distinctive multi-string fretless bass playing, and the idea behind Quadvium was to build a sound architecture where two such bassists could collaborate not as competing voices, but as an integrated dual force.

From its inception, Quadvium was conceptualized as more than a studio project. It became a calculated endeavor that required the right chemistry and vision. This vision eventually expanded to include drummer Yuma van Eekelen (Our Oceans, Pestilence), whose percussive insight and technical versatility added necessary structure and nuance. The final piece came in the form of Eve (Myth Of I, Kaathe), a composer and guitarist whose contributions shaped much of the compositional framework and sonic direction of the group.

The idea was to avoid conventional roles and hierarchies—no rhythm vs. lead bass, no competition of egos. Instead, the band invested years into realizing a layered, intricate instrumental language built on mutual understanding and shared artistic ground. With the support of Agonia Records, Quadvium entered a focused recording phase to create their debut full-length, "Tetradōm."

"Tetradōm" is a carefully constructed journey into fusion-based progressive metal, driven by collective balance and deliberate arrangement rather than individual showmanship. Across its seven instrumental tracks, the album expands and contracts organically, shifting through tempo changes, textures, and tonal narratives that rely more on composition than complexity for their forward motion.

The two-bass structure is not a gimmick, nor is it overwhelming. Steve Di Giorgio and Jeroen Paul Thesseling interact like twin architects, offering contrapuntal lines, microtonal colorations, and elastic phrasing that cover much of the harmonic spectrum. Their interplay isn’t centered on dominance but coordination. Every passage they build together works more like a shared current than a tug-of-war.

Eve’s guitar work anchors and elevates the whole framework with dense riffing, scalar leads, and atmospheric interludes that create depth and breathing space. Guitar never dominates, but it does move the music forward structurally, offering contour and binding transitions. Eve's role as producer and principal composer is especially noticeable in the way ideas are linked and developed through themes rather than abrupt flourishes.

Yuma van Eekelen’s drumming avoids excess and favors structure, not flash. His work feels meticulous and supportive, often taking a compositional role in shaping the rhythm’s geometry without disrupting the free-form dialogues happening between bass and guitar. He creates movement that complements rather than competes, giving the music an agile but grounded pulse.

The album’s mood is often contemplative, sometimes dissonant, and occasionally intense, but rarely linear. There’s a sense of discipline in how the band chooses not to fill every second with sound. Silence and space are used wisely, which makes the dense moments more impactful. Songs like "Adhyasa" and "Ghardus" unfold patiently, relying on evolving structures rather than repetitions or sudden shifts.

Production-wise, "Tetradōm" sounds transparent but tight. The mix respects the complexity of each instrument’s range, especially given the low-end emphasis of two fretless bass players. Nothing bleeds or muddies—each instrument is positioned with care and intention. The mastering by Dereck Blackburn ensures a sense of depth, particularly in the dynamic passages where textures interweave subtly.

Visually, the album is wrapped in the surreal imagery of Travis Smith, which fits the esoteric and introspective direction of the music. His cover design hints at isolation, ascension, and elemental transformation—core emotional resonances that the music itself implies without needing lyrics.

"Tetradōm" is not a collection of jams or flashy prog demonstrations. It is a restrained yet technically fluid exploration, rooted in a shared ethos between four musicians who trust each other’s instincts. What results is an album that doesn’t push toward extremes but prefers a path of equilibrium, tension, and refined form.

Score: 8.0