THE TRIAL

A fascinating prog opera pitting human, Alms, against God in a trial for his abuse of the Seven Deadly Sins. Great music in a symphonic folk vein similar to that of Gabriel-era Genesis, Passion Play Jethro Tull, and Tarkus-era Emerson Lake and Palmer.

1. "The Charges" (2:05) great intro/overture to start us off. I love the mediæval soundtrack music dynamics as well as the very polished theatric performances of the story's two characters, Alms and God. The symphonic music is so theatric! Like early Genesis to heavier ELP or JETHRO TULL. (5/5)

2. "Luxuria" (7:32) great music with tons of theatric twists and turns, layers, subtleties and nuances, styles and a whole band room of instrumental choices. My favorite parts are those layered with folk/antique-sounding instruments and themes. Aitor is definitely trying to create something with a feel of the old pre-Industrial world--and he's doing it extremely well! (13.75/15)

3. "Gula" (4:38) an interesting, oft-changing weave of fairly simple instrumental tracks that was not engineered and mixed very well. Exploring more of a JTULL style here, I am still impressed and engaged despite the missteps. (8.5/10)

4. "Acedia" (5:08) opens with classical grand piano play before incidentals and Alms' woeful voice enter. When God enters to confront Alms, he becomes more defensive and aggressive. But then he tries to defend himself with heavier metal music backing a train-station-like PA voice. The classical piano is still very strongly present as flutes, drums, electric guitar power chords, and other woodwinds punctuate the emotion of the passage. When Alms and God start bantering and then singing in unison at the end, it's pretty powerful. (8.75/10)

5. "Avaritia" (6:02) organ fades as finger-picked acoustic guitar and flutes and woodwinds weave to set up an European folk soundscape--over which God enters singing in a kind of café lounge style--before acceding to a sudden invasive motif of heavy symphonic rock. Spanish guitar flourishes and Hammond organ play join and accent the instrumental passage in a very ELP/JTULL kind of way (the latter especially as flute joins in). Strong church organ backs the next discussion of Alms and God--with a strong presence of operatic choir in the background making contributions like a Greek Tragedy. (9/10)

6. "Recess" (2:09) interesting for its simplicity and presence: (was it necessary), but it is quite consistent stylistically and thematically with the rest of the album so I'll let it pass. (4.25/5)

7. "Ira" (7:27) opens with an almost Gamelan foundational riff from tuned percussion while militaristic snare drums pop in and out beneath Alms' sleezy, despicable pleas. God stands off steadfastly centered in dispassionate indifference while Alms rages--pulled off brilliantly. A brief Spanish guitar solo interlude allows Alms to try to gather his wits and re-start on a more controlled presentation of his case. This lasts a few minutes until the confrontation comes to a head in the final minute. This God is a scary, cool bitch! (13/15)

8. "Invidia" (2:10) definitely an anachronistic piece with rondo-like weave of acoustic and wind instruments beneath the two agonists' performances. (4.5/5)

9. "Superbia" (4:43) opens with upper octave tuned percussives (including piano) over which God and Alms continue their exhausting conflict--until 0:50 when Keith Emerson and Martin Barre inspired keys and electric guitar play out a musical version of the conflict for a minute. Then we come back to the courtroom with another more folky capitulation by God. Then, at 2:10 we move into a kind of vamp in which electric guitar offers his word over organ and electric piano. Alms and God then join in with a fast-witted exchange. My favorite song by God. Though interesting and dynamic, with great melodies, there is something a little flat about the composition. (8.75/10)

10. "The Sentence" (0:35)

Total Time 42:29

Though Aitor's performance as Alms is often a little Jim Carrey over the top sinister (and very much like Devy Townsend's performance as Ziltoid), the performance of Maria Volkova as God is rock solid and deserving of every accolade one could throw her way.

This is a very difficult album to assign ratings to; the more accurate thing to rate would be how convincing the story has been rendered with the musical compositions and vocal performances. I have to say that despite Aitor's somewhat over-the-top performance as the human on trial (Alms), the story is conveyed as convincingly as anything attempting to replicate a medieval/chivalric time/era since perhaps Anthony Phillips' "Henry: Portraits from Tudor Times". As for the success of treating humankind's battles with the Seven Mortal Sins, I think they've done a far better job than, say, Magenta's Seven, Alice Cooper, Eden's Curse, or Marianne Faithfull's cover of Kurt Weill's opera (though Weill and Bercholt Brecht's version is pretty great). Many, many times I am reminded while listening to the Trial to the analogue musical compositions submitted by many of today's great prog bands to and/all of the Colossus Magazine/Musea Records releases based on great themes of literature or art.

B+/4.5 stars; a near-masterpiece of theatric prog rock and definitely a wonderful addition to any lover of operatic prog storytelling.