Los Angeles-based act Manuel enters the Progressive Metal landscape with considerable compositional intent. Parasite, released on February 27, 2026 via Wormholewdeath Records, is a six-track EP that navigates the intersection of extreme metal aggression, progressive structural complexity, and a distinctly multicultural sonic identity — one rooted in Latin percussion textures, bilingual lyricism, and a willingness to shift directions without warning. The result is a debut statement of genuine artistic ambition, executed with technical conviction and a clarity of thematic purpose that distinguishes the project within its field. The band’s approach is built around the guitar work of Manuel Urgiles, whose dual command of lead and rhythm architecture holds the entire listening experience together. Flanked by a rhythm section — Jason Ingalls on drums, Thomas Hiscock on bass, and Ryan Cummings on additional rhythm guitar — and enriched by the contributions of DJKTF on keys and percussion, MANUEL operates as a genuinely collective force, even as the project’s individual voice remains unmistakable throughout. “25% Gone” opens the EP with a statement of intent that leaves no room for ambiguity. The track establishes immediately the dual nature of MANUEL‘s sound: granite-Heavy riffing and a frantic rhythmic framework that pushes constantly forward, interrupted by moments of calculated restraint and orchestral widening. The opener moves through distinct internal phases — a dense, technically demanding central section defined by virtuosic guitar interventions and continuous time signature shifts, followed by a spoken-word passage that introduces a more introspective dimension. The transition into a softer instrumental passage, built on percussion and guitar layering, demonstrates an awareness of compositional arc that extends well beyond the conventions of the genre. As an opening track, it positions the EP with authority, mapping its tonal and stylistic coordinates with precision. “Native Temple” represents one of the EP’s most compositionally developed moments. Opening on atmospheric, arpeggiated guitar figures, the track introduces a spoken vocal in Spanish that almost immediately reveals the cultural depth underpinning the project’s identity. The guitar solo enters in dialogue with the vocal line, creating a refined interplay between instrumental and sung expression. What follows is a sustained progressive rock development — warmer in texture, more melodic in contour, driven by a vocal performance of genuine emotional intensity — before the track evolves into heavier territory. Double bass drum patterns emerge with increasing insistence, clean vocals alternate with more aggressive delivery, and the compositional structure shifts through Progressive Metal terrain that encompasses both extreme and progressive rock sensibilities. The track’s guest contribution integrates naturally into the arrangement, enriching the textural palette without disrupting the internal coherence of the piece. Among the EP’s six tracks, it stands as perhaps the most complete demonstration of the project’s range. “Sonido Robado: Crowns of Deception,” featuring Ryan Raes, operates at a compressed duration without sacrificing compositional substance. The track opens on a propulsive, aggressive rhythmic foundation — dense, accelerated, uncompromising — and sustains this intensity through a tight interplay of heavy guitar work and an extreme vocal delivery that pushes into genuinely harsh territory. Solo guitar interventions provide momentary contrast, injecting technical virtuosity into an otherwise relentless progression. Sudden time signature shifts create ruptures in the texture that open space for melodic expression before the track reasserts its full weight. Concise and purposeful, it is the EP’s most direct and viscerally immediate statement, demonstrating that brevity and complexity are not mutually exclusive. “Sueños y Necesidades” functions as an interlude of sorts — the shortest piece on the record — yet resists any suggestion of filler. Built around guitar arpeggios and a ritual, almost ceremonial atmospheric gravity, the track unfolds in a slow crescendo that eventually incorporates percussion and a delicate electric guitar presence. The overall effect is hypnotic, the mood deliberately suspended between introspection and tension. It serves a structural purpose within the EP’s sequence, providing breath and contrast before the final two tracks, while possessing sufficient textural richness to stand independently. “Ladrón,” featuring Patrice Elizabeth Vigeant, navigates the widest range of the EP’s remaining material. Alternating between aggressive vocal passages and more expansive Progressive Metal developments, with Urgiles‘ guitar consistently central to the composition’s architecture, the track explores the same thematic terrain as its predecessors — the interplay between power and vulnerability, between cultural identity and systemic pressure — through a distinctly varied set of sonic tools. Rhythmic acceleration and sudden dynamic shifts punctuate the arrangement, while the guest vocal contribution opens harmonic and emotional dimensions that complement the track’s more intense passages. The compositional logic is clearly articulated throughout, even as the piece moves freely between stylistic registers. The EP concludes with “Greed’s Exodus,” a predominantly instrumental Progressive Metal piece that allows the ensemble’s collective musicianship to take centre stage. Guitar leads the composition with assured authority, supported by a rhythm section in a state of continuous evolution — time signatures shifting, momentum building and releasing across the track’s five-minute duration. The track’s atmospheric character introduces a reflective, almost cinematic quality into the EP’s closing moments, drawing the listening experience to a measured and coherent resolution. It is a fitting conclusion: technically accomplished, compositionally self-aware, and restrained enough to leave an impression without overstating its case. “Parasite” is a focused and musically serious debut that confirms MANUEL as a project with a genuine artistic identity and the technical resources to sustain it. The EP’s integration of progressive metal architecture with Latin cultural influences and socially engaged lyricism gives it a distinctiveness that extends beyond genre convention. There are moments here — particularly across “Native Temple” and “25% Gone” — where the compositional ambition and the execution fully align, and those moments carry real weight. Taken as a whole, this is a confident and coherent statement from a band with a clearly defined voice and the craft to express it convincingly.
Tracklist
01. 25% Gone (07:34)
02. Native Temple Ryan Reeves (05:38)
03. Sonido Robado: Crowns of Deception Feat. Ryan Raes (03:30)
04. Sueños y Necesidades (02:33)
05, Ladrón Feat. Patrice Elizabeth Vigeant (05:20)
06. Greed’s Exodus (05:01)
Lineup
Manuel Urgiles / Lead and Rhythm Guitar
Jason Ingalls / Drums
Thomas Hiscock / Bass Guitar
Ryan Cummings / Rhythm Guitar
DJKTF / Keys and Percussion