INNATE PASSAGE

1. "Catastasis" (10:50) long-rising mid-to-low synth note is soon joined by arpeggiating guitar before full band kicks in at the very end of the first minute. At 1:30 there is an introduction of keyboard sounds that give the grungy baseline track some new life--a lighter, more interesting aspect--which is then culminated with a wild synth solo just before a quiet "reset" bridge before vocalist Nicholas DiSalvo's Kevin Moore-like voice enters to sing. Musical shift at 3:40 into heavier, MOTORPSYCHO-like motif allows Nicholas a chance to explore new styling and melody. I really like the instrumental passage in the middle of the fifth minute, just before the grungy MOTORPSYCHO section that follows. Then at 5:42 we emerge from another high-speed tunnel with Mellotrons and softly arpeggiated guitars and bass into a more uplifting, high-sky region--one in which the keys and guitars seem to support the skyward exploration of our eyes (and dreams). Wonderful! The eight minute turns quite NEKATR-like before the "choral" style multi-voice vocals enter singing a gently melodied passage. At 8:40 we then revert to some more guitar-oriented grunge music as the guitars solo over the top. At 9:44 we then return to a more melodic though still heavy motif over which a Richard Wright-like synth solos to the song's close. Very good song--and a great sounding start to this album. (18.25/20)

2. "Endless Return" (9:54) intricately performed music on a complexity level somewhere between those of MOTORPSYCHO and Jared Leach's GHOST MEDICINE. Not very engaging until the more melodic and smoothed out second half. Nice choral vocals. A tough song to rate since I didn't connect at all (except on a cerebral level) with the first half, but I loved the seventh and eighth minutes. (17.75/20)

3. "Coalescence" (9:47) I love the time the band takes to patiently establish the baseline fabric of the song--with great sound and balance of top-to-bottom dynamics--but when the CHROMA KEY-like vocals start at the four-minute mark it's quite a let down/disappointment. 'Trons, synths, and thickening guitar play build after first verse. Nice. Again, quite wonderful sound clarity and mix. The second verse offers very little improvement upon the first--except for the retention of the fuller soundscape. The two-part two-guitar interplay in the seventh and eighth minutes is nice but never really reaches the tension levels (and resolution) that one hopes for. Still, it's pretty. Return to vocals for the ninth minute before giving way to a synth solo. Sounds so 1975! Solid song that is actually quite enjoyable to listen to, just not worthy of superlatives. (18/20)

4. "Merged in Dreams - Ne Plus Ultra" (14:43) with this opening I feel as if I'm in STEVEN WILSON Hand. Cannot. Erase. territory. Dreamy synth lazily soloing over the top reminds me of California psych-pop band WEST INDIAN GIRL. Heavy guitar strumming and play burst onto the scene at 1:50, and then at 2:34 a more heavy fast-driving guitar riffing starts- -over which Nicholas DiSalvo enters with a Bent Sæther-like vocal. The guitar-centric section that then ensues is very much like Jared Leach's wonderful 2016 release, Discontinuance, but then we back off into more CHROMA KEY-like sound space and vocals at the end of the sixth minute. It's very pretty, relaxing and engaging (with, again, nice multi- track vocal arrangements). Very anti-climactic middle section seems to "end" with a silence starting at 10:10 filled only with a repeating, distant piano arpeggio until subtle synth layers and, eventually, electric guitar chord arpeggi begin to rejoin and re-populate the sonic field. Drums slowly re-introduce themselves until at 13:10 the full band rejoins to play a repeating five-chord progression to the song's close. Very nice but, once again, seems to be begging for more/different build and resolution. (26.5/30)

5. "The Purpose" (8:37) another long (three minute) and engaging intro. Nicholas' vocal enters and the music, for once, stays similar. Once again I feel a very strong CHROMA KEY throughout this song: chord progressions, pacing, synth- born atmospherics, and, of course, Nicholas' vocal sound. At the four-minute mark begins a dreamy space interlude of delicately played instruments, each playing stoccato notes while forming a beautiful weave. At 5:10 we return to the opening motif and the Kevin Moore-like vocal. Then, at the very end of the sixth minute, the guitars burst forth over the continued rhythm section tapestry, but then soon step back so that the many keyboard sounds and textures can step back into the weave. The final 70 seconds find the band reverting to the gorgeous space music of the middle interlude--to fade. (14/15)

Total Time 53:51

Elder's music has become more complex (and very similar to Motorpsycho ?) and intricate (? and Ghost Medicine) than previous albums but somehow less "complete": each song seems to fall short of perceived heights and dénouement of internal conflicts. Too bad cuz the production is excellent and the sound very welcoming. At the same time, I noticed how much I was enjoying the album with each successive listen--due, I think, to the fact that one becomes familiar with the music so easily.

A-/4.5 stars; a minor masterpiece of heavier progressive rock music--and definitely a step in the right direction for this band.

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