A POETRY OF RAIN

"A Poetry of Rain" acoustic guitar intro, notes falling from a refined waterfall; an atmospheric ambient sound, nostalgic just to settle down before "The Art of Giving In" which gives in the SUBSIGNAL, sharp riff and strobe air for boosted prog metal where Arno's voice slips and can initially recall ENCHANT; the two Markus perform a nervous break before a delicate western-acoustic finale on a pedal steel. "Marigold" continues with languorous rock, a TOTO-style ballad, on Bruce SPRINGSTEEN, moving, plaintive, airy; mid-tempo tune with warm melodic guitar like in the AOR era. The programmed, ambient, monolithic drums are there to melt a little more around the fat keyboard. "Sliver (The Sheltered Garden)" shifts gears with a heavier riff, tempered by vocals; we are of course fruity prog metal which is very easy to listen to; the ambient break with keyboards and staccato metallic riff shows the musical diversity of the group until the crystalline finale. "Impasse" acoustic intro by Markus for a second ballad to sing in the middle of the desert; the moving, spleen guitar solo on Rothery; choirs amplify the aura released; a final nostalgic solo moves you a little more.

"Embers Part II: Water Wings" sequel to a 2011 album slap track; air in symphonic crescendo flirting with stadium rock, a well-punched anthem with sensual singing; a second beat which explodes and gives pride of place to Markus that of the keyboards for a melancholy and airy drift before the rhythmic finale, TOTO or FOREIGNER in the distance. "Melencolia One" returns to a cheerful tune, consensual melody and SAGA-style riff; Dirk prints an innovative jerky tune from the central break, the guitar solo moves further away from the opening tune and brings the standard title, a prog metal of today, stronger than before, more rhythmic, more nervous, on a calmer DREAM THEATER, less soporific than many current productions. "A Wound Is a Place to Let the Light In" sweetness which rises for the solemn title with a TOTO-style melodic ballad, filled with marshmallow; the keyboard travel break which changes from the eternal guitar solo, an ethereal piano variation for this evening's tender slow. "The Last of Its Kind" with this crimsonian riff then heavy for a prog metal where SIEGES EVEN see SPOCK'S BEARD returns in the background, reminiscences of YES too; the sound still refers to DREAM THEATER on a melodic side, like FATES WARNING; a stunning jazzy-heavy sax break from Marek of SEVEN STEPS TO THE GREEN DOOR; second slap of the album. "A Room on the Edge of Forever" as a bonus and acoustic track in search of emotion; variation flirting with the flamenco air and Arno showing the extent of his voice both in the strong moments and on this ballad.

Very good album of intoxicating prog metal alternating melancholy with catchy metallic tunes, it is a journey into 21st century prog that is offered to us.(4.5)

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