Sound-wise, then, the EP certainly sounds like Haken - but it is more atmospheric than is typical for the band. Jones' keyboards are generally more prominent in the mix, and the overall approach is much less riffy. Haken have always been a very modern prog metal band, though, so the approach taken here is quite typical of the wider scene - and I never agreed with the comparisons made between Haken and Dream Theater, as the two sound nothing alike save for maybe the odd riff here and there. Those who prefer the band's heavier side may well be disappointed, but those who enjoy soundscapes, Jennings' heartfelt vocals, and a bit of a less-is-more approach to prog metal will likely find things to enjoy here. The EP kicks off with its title track which, at just over seven minutes, is one of the longest cuts here. Haken have generally gone for shorter songs this time, but the EP is bookended by seven minute-plus numbers. A hypnotic clean guitar melody opens things up, and Jennings soon starts to sing over the top. Given the sparser approach to the arrangements here, Jennings possibly benefits overall. His voice always has plenty of room to breathe - and his higher-pitched delivery sounds great early on, whilst synths start to shimmer away in the background and some distant, programmed drums add an electronic depth. Electronics and synths play a big part of the sound throughout this EP, as the quieter moments of this song can really attest - but when Henshall launches into an angular riff, Hearne's drums kick in and the heavier sound that fans will be used to establishes itself for a time. The song moves back and forth between heavier sections and sparser moments - but, even when it riffs away sometimes, the lone guitar of Henshall is often more in the background, with Jones' synths taking the centre stage. As such, this EP really feels like the domain of Jennings and Jones. Their performances stand out the most, but when a tech metal riff cuts through the mix the power of Henshall's guitar playing is forced back into focus - and as the song progresses things certainly get heavier. Jennings even experiments with some brief moments of harsh vocals, something which I do not recall him doing before - and there is section later in the song where he does so against a very TesseracT-esque riff that judders with some chaotic Hearne drumming nicely. There is a lot going on throughout the song, then, despite the lack of showcase instrumental sections - all wrapped around a floaty, atmospheric chorus that recalls Anathema somewhat. Delirium follows, upping the heaviness pretty much from the off. A grinding guitar riff kicks the song off, backed by Gotgood's dry-sounding bass and some dancing synths. Whilst the previous song had heavier moments, it was largely characterised by atmospherics. This song is much more hard-driving, then, recalling some of the heavier moments of the band's more recent albums. Henshall is much more assertive here, his riffing largely ever-present - whilst the grind of the bass and the lairy edge of the synths give the song a discordant and rougher edge at times. Hearne is busier, laying into his double bass drums at times for some tough, jazzy metal beats - whilst Jennings leaves the more emotive delivery of the previous song behind for something much more powerful. He really soars during the song's chorus, which is built around the opening riff and some off-kilter drumming - whilst synths pulse away in quite a loud and abrasive manner throughout essentially the whole song. Things can feel a bit chaotic at times, then, but the song largely hangs together - and it will likely work really well live.
Eclipsed by You is the only song to not feature any traditional bass playing - with Jones instead covering the basslines on his synths. At first, though, the song feels very stripped back and mellow. Henshall's guitar melodies are quite up-tempo, but his tone is soft - and Jennings' early vocals are easy on the ear, despite some vocal effects coming and going. Some sombre piano melodies being added also give the impression that the track is going to be a soundscape-like ballad, but there is something hypnotic going on that belies something greater - and soon a synth bassline comes in, alongside some electronic drums, and Jennings starts to sing with a lot more vocal effects. The overall tone unravels at this point, then, and it is not long before some pretty ravey synths take over. Early on the synths seem quite floaty, against some subtle programmed drums - but when Hearne kicks things up a gear drumming-wise there is a real energy to the song, with synth bass and busy synths seeing the song out as Jennings continues to sing. Bleeding Sky opens in a similar manner, although the guitar melodies are much more slow moving this time - and the vocal effects on Jennings' voice are more prominent. Unlike the previous song, though, this one gets more organic as it moves along. At one point it seems as if things might take a similar route as previously - but the guitars become more prominent later on, whilst Jennings' voice becomes more full bodied. A bass bridge then allows the song to transition to its next section - which sees a somewhat heavier riff kick in, and the song largely proceeds from this point as a mid-paced, chunky modern prog metal cut, albeit with synths somewhat similar to that from the previous number. The song is a bit all over the place, then, but it does just about hang together - which is largely a theme of this EP overall. The closing section of the song is certainly much heavier, too, with more double bass drumming and organic riffing - even if Jennings' complex vocal arrangements ensure that a floaty sound often associated with Haken remains. The EP then comes to a close with Lotus, the other seven minute-plus song here. It is my understanding that the title track and Lotus started life as one longer song, but it was split in two to bookend the EP - and stick to the theme of shorter compositions. It is another that starts slowly with mournful vocals and piano melodies - before a precise guitar riff kicks in and the song becomes bigger. Mid-paced drumming and melodic bass playing from Beller come and go, with tougher, groovy sections sitting nicely side by side with atmospheric and melodic moments. Jennings impresses as always - with some of his vocal melodies calling back to the title track, giving away that the two songs were once one. The occasional use of harsh vocals is another link, and there are some cinematic, riff-led sections here over which Jennings screams - only for the pace to pick up once he starts to sing clean again. The arrangement is interesting, then, and a calm piano break never feels too far away, with much of the latter part of the song built around such - and it grows from there. Complex vocal arrangements and a rather slow groove characterise the closing sections of Lotus, then, with the previous heaviness stripped away - allowing a mournful guitar melody akin to how the EP started to bring the latest Haken platter to a close. It is unclear yet how representative In a Fever Dream is of where Haken see themselves going forward. The EP has grown on me since I first heard it, and listening to it again whilst writing this review I have enjoyed it more again - but it will be a shame if some of the knottiness and driving riffing of the band's core sound is largely left in the past. The EP is not as different as some are making out, though, and overall there is quality here - it is just perhaps showcased in a bit of a different way.
The EP was released on 18th September 2026 via InsideOut Music. Below is the band's promotional video for Delirium.
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