— First review of this album —

1. Overture, a soaring, cinematic, ethereal, classical entrance, a whiff of Amphibia in my opinion; hold on to VANGELIS now; opening march for 2. Fear and Guilt and its Ronda-esque piece, with its back-and-forth like an undertow, its solemn break with melting choirs supporting the majestic, dreamlike guitar; symphonic prog metal eyeing PETRUCCI, I hope the two buddies don't take it badly; the final keyboard is reminiscent of DREAM THEATER, I can't help it, while the solo suddenly rips through with this finale, both multiplied and fluid. 3. Invisible Wars, for the special mention to Manu and Patrice for the 80s piece that sets the tone, that fills the air, without untimely machine-gunning; Patrick's guitar unfurls, liquid, a torrent of notes that nestles in an undertow and bubbles a bit, a bluesy air indeed, heavy; The finale gives pride of place to the keyboard, the highlight of this album, which gives space to the four musicians present; it smells of Derek Sherinian, let's go for one last neo-classical tune à la Malmsteen, it's starting to get serious. 4. "Whispery Hopes" changes tone, with a time-honored organ in the background, synth and shearing guitar up front, then the tune gets going with the guitar that will mow the crops in the evening. The seeds fall like the notes of his guitar, a warm, rustic cascade. 5. "Back on Track" is classic, in the guitar hero metal vein of Malmsteen, to harvest the notes in the wine press; well, a hint of Satriani, whom I saw not long ago distilling tunes in the basket; it's his album, so he can afford it, but the old-fashioned organ amplifies the warmth given off by these notes coming very quickly from the guitar neck. It rolls right to the end, no boredom.

6. Escape from Shadows, with a sound straight out of a DEEP PURPLE album?yes, my fault for always trying to find reminiscences. When the keyboard unites the guitar for a moment of fusion, of symbiosis, when the prog blood oozes from the album with the variation where Guers has his eclectic solo moment. Patrick adds to it by aligning the notes in sets of ten, accumulating a nice pile; a heavy metallic finale, like a torrent of embers. 7. Now We're Home, with the crystalline acoustic slide, yes, Ry COODER. Gaëlle BUSWEL takes over the vocals, nervous, crunchy, a nod to ROZEDALE and Amandyn, as if female voices are a plus. Well, the track is bluesy above all, rock too, with a shivering keyboard solo from Manu. The tortured bluesy guitar arrives to bring everyone into agreement; it's her who guides it. In short, this sung track is worth noting, a moment of relaxation. 8. Hold on to Your Dreams ... More classical at the start to avoid a succession of redundant tracks; the Rondat seal is expressed in a tough moment that shows his dexterity, he who calls himself just an average musician, average, my eye, Patrick, you're touching! 9. From Nowhere with Pascal Vigné, a good guitar mate who happened to be passing by, there was light! The captivating neo-classical track for the syrupy intro, in short, prog as I like it... much better than the ad; after that, it's Pascal who has fun playing, he plays alone, they play together, I'll let you see, guess, listen; the ballad with the hypnotic pad redundant to give off the South American atmosphere in the distance; the piano also gets involved, the organ, ah the guitar riff calms things down, we're really into unleashed bluesy rock boogie; a hint of the famous 'Rape of the Earth' I think; It's almost over and Manu starts a battle of notes with Patrick. I'm listening, it's going too fast. Pause, replay, wow! The fat finale, oozing hard classical notes. Surely the musician had listened to a lot of classical music theory? In short, the finale unfolds. 10. Prelude and Allegro (In The Style of Pugnani) Yes, the album ends with a reinterpretation of 2008, with "Hervé N'KAOUA." Neoclassical with a Yngwie twist, maybe just Patrick's. In short, it's already finished, this stuff is a good listen!

I've listened to several interviews with the members of Genesis, and a recurring topic of discussion is how much better the band sounded live than in the studio. (I believe it's Tony Banks who usually makes that claim.) I make it no secret (not that anyone asks) that the three "Paul Whitehead albums" are my favorite among Genesis' corpus. Seeing as this live album is a collection of songs from that period, I thought it worth my time to check out. Fittingly the album has Paul Whitehead's last logo for the band, as these songs are all taken from the albums with his covers. The images on the front and back very nicely present the uniqueness of early Genesis. The scene on the front shows Gabriel in his Magog outfit while the rest of the band are hunched over their instruments. I always found it a bit strange that the cover highlights a moment from "Supper's Ready" when that didn't make it on here. The back cover features closeups of all the band, but Gabriel is shown multiple times, the centerpiece being his famous batwing headpiece. (I can see why there was some resentment from the rest of the band about his theatrics overshadowing their playing) But the main reason I bring up the packaging is because much like Nursery Cryme did and the Lamb will, this album includes a short story. It's very surreal and has nothing to do with the songs or images on the cover and I love it. The urban setting and tone definitely show where the band would be heading in a year's time. I like how it's presented as if it's a report of some kind. It really gives this album the mystique present in their best works, like something not of this world that found its way into ours. I really wish Gabriel had continued his writing.

The track listing is a very good selection of early Genesis classics, but then it really is hard to go wrong. If someone were unfamiliar with the band, and was for some reason too intimidated to go through full albums, this would be a good place to start. We start with the iconic "Watcher of the Skies". The famous mellotron intro is about the same as the one on the album, but I think the "morse-code-rhythm" is better pronounced here. I think Mike and Phil have the most to gain from being heard live. Next is "Get 'Em Out By Friday", which for some reason doesn't sound as good as the rest of the album. Still Peter's voices are fun and he goes a little more over the top than on the studio version. The opening to "Hogweed" is given a little more power than in the studio, and Steve adds some nice guitar flourishes. I will note that whatever keyboard Tony is using doesn't give the song that same horror vibe as the piano on the original, and Peter's vocal effects are missed. But the ending is more explosive than ever. After an unaccompanied bass pedal solo from Mike, we get my favorite Genesis song, "The Musical Box". It lacks the darkness and intensity of the original, but is still an interesting alternative. Steve's guitar lets out a monstrous groan as the heavy part starts. I think Tony stands out more here than he did in the studio. I also like Phil's drummer at the end, which is probably the only part more intense than the original. Finally, we get to the one everyone's been waiting for, "The Knife". No offense to Anthony Phillips or John Mayhew, but Phil and Steve really take this one to the next level! This heavier style is more suited to them. I don't think I've ever heard the band play this hectically! Once again Peter's vocal effects are missed, but the playing more than makes up for. Overall, this was an interesting look into one of my favorite bands and a good guide for newcomers. The quality of the recording isn't the best (apparently the band hated it because of that) but it's never so bad it's distracting. For the most part I prefer the studio versions, but I can certainly see where Tony was coming from. Well worth a listen, and "The Knife" is good enough to replace the original on your playlists. Definitely watch footage of their performances as well!

Forever Is Now

Forever Now, Gösta Berlings Saga's seventh studio album, surprised me immensely: a gem, without a doubt. It's a modern experimental classic and a refreshing listen for ears tired of hearing the same old thing over and over again. The Stockholm-based band refuses to be pigeonholed and avoids the usual clichés. Their style combines analog and digital keyboards to create soft, dense atmospheres, like a soundtrack that's sometimes dark, but always cinematic, with moments of light.

The sound is carefully crafted, with David Lundberg in charge of compositions and a wide range of keyboards. He's accompanied by Rasmus Boberg on guitar and mixing, Alex Skepp on drums, and Gabriel Tapper on bass and Moog pedals. You can clearly hear the evolution in their sound: more refined, more mature, and more focused than ever.

My favorite song is Forever Now, a perfect example of their ability to balance emotion and experimentation.

Happy Canada day everyone! Dave Pearson is the COMPUTERCHEMIST in question here. He is from England and has been in the music business since the early eighties. He was very much inspired by TANGERINE DREAM's "Cloudburst Flight' from their "Force Majeure" album back in the day. And while he is a drummer, bassist and guitar player, this man has quite the arsenal when it comes to electronic and analog equipment. He would go solo under the COMPUTERCHEMIST name in 2006, creating his own record label in the process.

In 2013 Pearson became part of a band called AUDIO COLOGNE PROJECT, but he continues to release solo albums in the process. "Icon One" is from 2008 and is his sophomore release. He has a long list of stuff he plays here including yamaha bass, fender stratocaster guitar and yamaha drum pads. When it comes to the electronic equipment it's impressive to say the least. All of this wouldn't amount to a hill of beans if he wasn't such a gifted composer. And that's the key in my opinion, and what makes COMPUTERCHEMIST a must for electronic fans out there.

This was love at first listen and I must admit I was very surprised in the process, not knowing this musician or project prior. Thankfully I did pick this record up along with two of his 2013 releases about a dozen years ago. We get five songs worth under 59 minutes. And I looked forward to spinning this each time. It's surprisingly catchy and melodic, with that 18 minute, self titled opener leading the way in those departments. The sequencers are certainly helping with that. But this guy has a brilliant way of combining different electronic sounds to great affect. A composer indeed. Some of this stuff is otherworldly and so majestic. Lots of piano too and that is where I hear that classical sound at times.

One of my favourite sounds is the melancholic synths, and we get plenty of those on this record beginning mostly on track two called "Timethorns". This gets majestic as well after 4 minutes with those sweeping sounds. But before that it's mid-paced sequencers and melancholy. The melancholy returns later. "Chaos Theory" is good with that guitar standing out along with synths that pulse and plenty of piano. "Icon Zero" at 17 minutes opens in a very dreamy and spacey manner. A bass line and beats join in around 5 minutes. Back to spacey then sequencers at 7 minutes. Melancholic synths around 10 minutes. Lots of space and piano later.

Finally, we get the closer "The Message" the shortest piece by far at under 5 minutes. And there's a video for this one. I'm really looking forward to those two 2013 releases after spending time with this one. Pearson recently released an album that sort of follows in Manual Gottsching's footsteps of a guitar only release playing spacey kosmisch music. A talented man, no doubt that.

— First review of this album —

Bakullama Maxwell's Submarine 2025

NOTE: The listing of material here is different than what is seen on Bandcamp. This review is the Bandcamp's version

1. Lost Dreams of Conquest 2. Maxwell's Submarine 3. Destiny put His Guitar in Her Salad 4. The Major's Boots are where She Left Them 5. History ... Like Science, is Ever Changing 6. All of Her Eyes are Out of sync 7. The Sea & Brisa 8. Goodbye Bakullama!

Rick Whitehurst ... all instruments Eric Cambum ... eDrums on "Destiny" and "All Her Eyes" "O'Man" ,,, Bass on "Destiny" (oman5.bandcamp.com) Kalvin Foster ... Guitar on "Sea & Brisa"

I had to listen to this again, before starting to really enjoy it. Each piece is not exactly like the previous one, and it takes a bit of patience, and then this album starts to fly, and it has its really nice bits, parts and pieces. And very enjoyable they are I say!

There is some really neat stuff here, and sadly, some of it, appears to seem unfinished, or the player tired of doing what he was doing. While that is not a criticism since he is the creative person here, and I am just a reviewer, it is a thought that what we are hearing is missing something, and that we want a bit more here and there so the piece might have a feeling of completeness, instead of ... that's it? Though that is not the feeling for the whole album at all. But, sometimes, you want to hear more and it is not there.

There is a side of things here, that might give us an impression that order here is not what matters, but somehow the addition of this or that will make it work, and in general, it does, though, as I suggested, we want more. The first piece is a good example, with the piano part in the end, not exactly helping anything, and you wondered what happened there.

However, in general, this is a neat album, and special in many ways ... as the next piece shows, in "Maxwell's Submarine". It has a neat feeling and somewhat sci-fi from the old days of the movies, and maybe this is the album's cover that is giving me that idea, but the feeling of this thing moving is really well done, with some suggestions on the edges, as if this was the end, and you could hear something, a memory of sorts, special in its own way, but a detail that really makes this piece work really well as the piece comes to an end.

"Destiny put His Guitar in Her Salad" is probably the highlight of the whole album, though that is suggesting that other things are not as good, which is not true at all ... but there is a bit more continuity and quality here than some of the other pieces, and it might be the Bass Guitar that makes this work well.

The last two pieces listed here are probably the best ones, if not the ones that will get our attention the most. "The Sea & Brisa" ... is the one that is more attractive, probably because of the guitar, which is the one part that is easiest to stay with sometimes and its beauty shines throughout the whole piece, and makes this a very special piece in the album. But, remember that this piece is not at all, much of anything like the other pieces in the album. One could say that this is more about the guitar riffing, and leading this piece of music, and yeah, it stands out, because it is very good. In some ways, the difference in this piece from the rest of the album, makes it seem like it doesn't belong here, but somehow, it didn't bother me, though it gave me a bit of a rest listening to the other, less defined, or designed as this one is. A wonderful piece and deserving some attention.

The last piece, is the tough one for me ... "Goodbye Bakullama!" is something that Rick has mentioned online, was over and he was looking for the next step and ideas to take hold. Personally, I liked, and appreciated the hermit's idea here for the creativity of the music in this album, but sadly, I think the lack of comment and appreciation, or perhaps sales, has made the end of this whole thing ... its reality.

On this last piece, you get the feeling that there are here many of the ideas and sounds that never got anywhere, or were represented, and while not "empty", the thing, somehow did not take flight properly or well enough to continue. It has a nostalgic feeling and idea, that makes me feel like this is all gone, and music, for me, is not something that will be EVER ... gone ... anywhere ... at all, to be wasted and not heard. Some folks might feel empty inside, but rest assured that this is not the feeling in many listeners, though you might not hear them say much of anything. The memory and moment that passed through your mind is as important as any other part of your memory ... or it would not be there!

A really good album, probably a difficult listen for some since it is not a conventional design or album, with "songs" that we can hum to and remember, but in its own way, this is a really nice thing ... though I will find it sad that this is the last one ... and its time to say goodbye ... and the ending of this piece is just as I suggested ... unfinished and unclear ... something that you and I do not want to hear about any band out there, or player.

Worth having, and a neat listen all around.

Why haven't I reviewed this yet? I reviewed most of The Mars Volta's albums and I haven't gotten to Deloused yet?! Guess I should get my priorities straight.

Unlike what some may believe this is technically not their first musical venture, that being Tremulant EP, which came out a year before. There we would get a rough draft of what The Mars Volta would make in their following debut LP, being a mix of post-hardcore frenzies with unique prog and art rock sensibilities.

This is arguably probably their most At The Drive-In styled album in their discography, as its post-hardcore sound has a similar edge to that of Relationship of Command, though obviously with a more prog edge. I believe what really appeals to me about this record is that it basically kick-started a new movement for progressive rock as a whole, that being the subgenre of alt prog. This wasn't the actual first alt prog album out there as Coheed & Cambria's The Second Stage Turbine Blade came out a year prior, but that record was more focused on emo and pop punk, rather than a full blown entwining of prog rock and alt rock. In a way, Deloused in the Comatorium was the first to have done it, which definitely gives it staying power.

And its fusion of post-hardcore and prog rock is really good I think. Obviously it's a bit different from the band's future workings, especially since the next album, Frances The Mute, would bump the progginess by a wide margin, but for what it is worth Deloused, at least I think, combines punk with prog really well.

In fact, I'd argue this album is the band at their most Pink Floyd inspired. Noctourniquet would be a bit close due to its more psychedelic sound, but weirdly enough Deloused just has the same edge that you may find off of Dark Side of the Moon, or Animals for me. It's mostly because of the space rock infused production, which makes everything feel like it comes from space. Pretty perfect for an album that is themed around a man falling into a coma and having to fight his way out of it.

Though, I do prefer what they would do later on. More of a personal thing with The Mars Volta more than anything. I still really like this album a whole lot, but I cannot deny and say I don't much rather prefer their wild and jazzy stuff.

In fact, I'd argue this album is a bit clean, which does work for its debut status as it is the band trying to wrangle as many fans in, but still I am more fond of the wild side that the Mars Volta has. It only really gets crazy on the same tier as something like Frances or Bedlam on a few occasions, and only towards the end. I think the 2003 live EP (simply called Live) does a good job at bridging the gap between the two by making some tracks on here feel more akin to what they'll sound like later on.

Obviously, different strokes for different folks. The debate between whether Deloused or Frances is the better album has gone through circles and circles around the internet, and honestly speaking, that debate never quite mattered to me. Even though I prefer Frances, Deloused has its own strengths too. It is an incredibly well made debut for an equally incredible band. Really, loving it is a given.

Best tracks: Inertiatic ESP, Drunkship of Lanterns, Cicatriz ESP, This Apparatus Must be Unearthed, Take the Veil Cerpin Taxt

Worst tracks: Son et lumière, Tira me a las arañas

— First review of this album —

"Vanishing Sessions" is an EP release by Finnish death metal act Demilich. The EP was released through Dissonant Tapes in December 2021. It´s the first new material from Demilich since the release of their debut full-length studio album "Nespithe" from February 1993. Demilich had a longer break in activities from 1993-2005 and disbanded again after recording the three tracks featured on the 13:06 minutes long EP in the Spring of 2006. The material was first made available on the January 2014 "20th Adversary of Emptiness" compilation album (which compiles all recorded material by Demilich) and has since also appeared on the September 2018 "Em9t2ness of Van2s1ing / V34ish6ng 0f Emptiness" compilation album. "Vanishing Sessions" is however the first time the three tracks from the spring 2006 sessions see an individual release.

I´m not sure about "The Faces Right Below the Skin of the Earth", but both "Emptiness of Vanishing" and "Vanishing of Emptiness" were written in the period between the July 1991 "The Four Instructive Tales ...of Decomposition" demo and the May 1992 "...Somewhere Inside the Bowels of Endlessness..." demo, but not recorded and released during that time. If "The Faces Right Below the Skin of the Earth" is a representation of a Demilich song composed in 2005/2006 it´s proof that Demilich still had a lot to say, because it´s quite the brilliant dissonant technical death metal track in typical Demilich style. Abstract, weird, vile, and oddly charming death metal with a burbing growling vocalist in front. The two older tracks are slightly more "old school" and simpler, but still quite sophisticated and technical in execution. Demilich were never you run-of-the-mill type old school death metal act.

"Vanishing Sessions" features a powerful, raw, yet detailed sound production, and it´s a near perfect sound for the material. Demilich are as well playing as ever, delivering their laid-back heavy grooves, twisted leads and harmonies, and an abysmal dark atmosphere. A 4 star (80%) rating is fully deserved.

(Originally posted on Metal Music Archives)

Scarlet Inside, a band founded in 2011, is a solo project by multi-instrumentalist Kevin Kennie, immersed in the 70s progressive scene.

"Before the Night" opens with a haunting air, the vocals evoking the archangel, a bit like the Swiss band Clepsydra and Aragon. The best part is the heady sound and the reverb; it's good, but very repetitive after half the track. "The Bells, They Are Tolling" is an encore with the vocals on the melancholic melody; it takes on an Albion-like tone, between the conventional soft melodies enhanced by the languid guitar solo. "Outsiders" follows with a spatial, cinematic, and mysterious intro; the dark, monolithic sound of an icy Tangerine Dream, Gabriel's world tribal explorations, is excellent. Once digested, the album begins with a borderline distorted, metallic sound that carries us away. The finale features plaintive, shrill guitar on a martial pad and strident vocals. "The Edge," a Floydian and bluesy intro, with its crystalline notes flirting with electronic movement, surfing on synthetic sounds, and the contemplative edges of New Age, were it not for Kevin's haunting voice. A special mention would go to that guitar screaming the despair of today's world.

"The Question" brings us back to the Gabrielesque style with a folkloric gradient, laced with syrupy, melancholic, and majestic atmospheres. The Genesis reminiscence is evident. "Tru Motion," with its eclectic bass, launches into a compulsively dark rock atmosphere, reminiscent of OSI for those who followed that band. The dark, haunting, lit-up rock returns to its former glory with the guitar solo highlighted, somewhat saving the musical situation; the finale returns to Bob's bass. "Submerged Voices" for its crystalline, dark, ambient, and progressive piano arpeggio. A mix of "The Big Blue" and "Sorcerer" with Peter, excuse me, Kevin; a still captivating track that stretches and stretches metronomically with the captivating electric pad finale. "Over the Edge" ends this album like a ship running aground in the Sargasso Sea, a solemn trumpet pushing even deeper into the background; the air is haunting, as melancholic as can be, enhanced by a meditative ray of sunshine.

Electric, space rock, and post-rock, all concocted with alternative rock and metallic ambiances. A melodic and abrasive album, contemplative and psychedelic, with long, ethereal pieces for a musical journey soaring into the distant spheres of prog.

Review Nº 900

Triana was a Spanish progressive rock band of the 70's. They were probably the most famous Spanish progressive rock band in those days, or even today. The three members of the band, Jesús De La Rosa (singer, keyboardist and author of a large part of the band's repertoire), Eduardo Rodríguez Rodway (guitarist) and Juan José Palacios Orihuela "Tele" (percussionist), already had a long musical career within the first generation of the Spanish Sevillian rock bands.

Triana was formed in Seville in 1974 with their musical career spread between the 70's and the early 80's. The band took their name from the Seville neighborhood of Triana. The embryo of Triana was in the group Triana Tabaca, which initially had Carlos Attias, Miguel Ríos, Emilio Souto, The Solitary Cantor and Eduardo Rodríguez Rodway, guitarist of Os Payos. In 1973 with Attias away from the band, Jesús De La Rosa took his place as bassist and singer. Finally Juan José Palacios "Tele" joins Rodway and Rosa, on drums, laying the foundations for Triana. The first line up of Triana also had Dolores Montoya and Manuel Molina, although they both quickly left the group to form a duo, Lole y Manuel. So, Triana was reduced to a trio that would be the last format of the band. The initial objective of Triana was to merge flamenco with the progressive rock, in the aim of bands like Pink Floyd, Caravan or the early King Crimson, and many other similar rock bands of the 70's. That fusion sound defined not only Triana, but the rock of Andalusia in general.

Their first three albums clearly reflect the aforementioned trends. Their debut studio album of Triana, generally known as "El Patio" and released in 1975, was a big hit with restless youth despite virtually zero promotion. However, it wasn't a resounding success. But, it was hailed by critics as the best fusion of flamenco and symphonic rock made since the experimentations of the Smash group. On their next album "Hijos Del Agobio" of 1977, published at a critical moment in the modern history of Spain, they are breaking down political issues like the exaltation of freedom. This album features a more progressive trend than its predecessor. It was considered their best work. The album quickly gained critical favor and was listed as the best album of the year. Already as one of the most popular and valued bands of the moment, their third studio album, "Sombra Y Luz" of 1979, maintains all the progressive aspects, although the music is a bit more darker and experimental than the two previous albums, with some jazzy elements and an electric guitar presence.

So, "Sombra Y Luz" is the third album of Triana and that was released in 1979. The line up on the album is Jesús De La Rosa (vocals and keyboards), Eduardo Rodriguez Rodway (vocals, voice and flamenco guitar) and Juan José Palacios (voice, drums and percussion). The album also had the participation of Miguel Angel (vocals), Antonio Pérez (electric guitar), Enrique Carmona (voice and electric guitar), Pepe Roca (voice and electric guitar) and Manolo Rosa (bass).

About the individual tracks, "Una Historia" takes you into the soulful and in the rock soundscapes of the Iberian Peninsula, in which Jesús De La Rosa's singing, which can hardly be surpassed in terms of expressiveness, is at the center and is wrapped in a sublime pathos with the filigree playfulness of the acoustic guitar. "Quiero Contarte" is a more upbeat number in the same vein as "Rumor" from their previous studio album, "Hijos Del Agobio". The title track "Sombra Y Luz", in the instrumental part, after a catchy beginning, has a more complex sound network unexpectedly struck up. The keyboards of Jesús De La Rosa remain elegantly in the background of the track. In the following long track "Hasta Volver", Triana reach their usual strength from the two previous albums in a transfigured pathos and luxuriate in the yearning harmonies. Supple key inserts know how to refine this symphonic euphony in a very pleasant way. "Tiempo Sin Saber" is a classic Triana's track in all senses, with that flamenco influenced progressive music that only they know who to do so well. "Vuelta A La Sombra Y A La Luz" was basically the weird part of the title track that was revisited here. It takes things in a more experiential way, where some more creative ideas were implemented.

Conclusion: With "Sombra Y Luz", Triana completed a brilliant trilogy where the fusion between flamenco and progressive rock is almost perfect. This trilogy put Tiana as one of the best progressive rock bands that appeared in the Iberian Peninsula, one the best exponents of the progressive Latin rock in the 70's and probably the best Spanish progressive rock band in those years. While probably their two previous studio albums "Triana (El Patio)" and "Hijos Del Agobio" can be considered two best works by many, "Sombra Y Luz" is probably more progressive despite being a less cohesive effort. Anyway, "Sombra Y Luz" gave the Spaniards Triana their big commercial breakthrough in 1979. While the most well known English prog rock bands were more in a pop vein, Triana still had their folkloric mainstay on which they could lean. Without completely throwing the progressive symphonic rock idea overboard, the voluptuous use of keys on the third album was scaled back by one level, by emphasizing the emotionality derived from flamenco.

Prog is my Ferrari. Jem Godfrey (Frost*)

This is the second album from this Norwegian band. The music features heavy progressive elements and strong melodies, showcasing some breathtaking moments. 45 minutes that go so fast that you want more. There is the use of clean vocals and occasional growls throughout the album. Also, I enjoyed the loud bass sound and the cool drum parts. The band can go on a fast pace with some heavy passages and slow things down with some beautiful acoustic guitar parts. The songs have a natural flow in them that keeps you focused until the end. You can hear some influences from the Swedish school of Opeth and Anekdoten, which gives you an idea of how the music sounds here. If all the songs are excellent, and you don't want to skip any one of them, my favorites would be the angry "The Trauma" and the last one, "Waving to the Sky," displaying all the elements that the band uses on the previous songs with some tempo changes. The presence of Ross Jennings on one song brings the Haken influence, but I don't think it represents the sound of the album here.