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4.5 stars. This is the first studio album ONE SHOT has made since guitarist James Mac Gaw passed. And like the album cover there is a dark and mysterious vibe to this record, this is different. They are now a two keyboard/bass/drums setup and I was surprised at the amount of synths on this one and I'm not the biggest fan of some of it and this record just sounds different.

While RIVERSIDE's "Wasteland" album, their first after their lead guitarist passed was clearly a band trying to come to grips with what happened, I feel they moved on with their next one. ONE SHOT did a live recording as a tribute to James called "A James" and no doubt this helped them to move on some while also creating some chemistry between the two keyboardists Ruder and Borghi. They are all over this album.

Hearing the opener "Off The Grid" for the first time was interesting. I don't remember them playing at this slow a tempo. And when the second keyboardist arrives it's like they are going around in circles, not going anywhere. I like how this builds and when the bass becomes more upfront it sounds more like them.

"Merovee" opens with electric piano as drums and bass join in. This is good but again it's surprising how slow the tempo is. Some organ then bubbling synths before this determined, stuttering section takes over. Themes are repeated. It calms down before 5 1/2 minutes, kind of dark too with sparse sounds. Intense keyboards around 8 minutes in. Sounds like crickets those synths at one point and returning a second time. This is just different.

"Don't Ask Me Why" is the first uptempo track and while we do get a calm half way through this is the song that sounds most like them despite synths leading at one point. This ends strong over those last 2 minutes. "Mustang" is the longest piece at 12 minutes and man this is intense right from the start. Unusual bright and high pitched synths at one point that don't exactly do much for me but again this is different. A dark and heavier sound follows and it's just not moving until just before 5 minutes. Synths get crazy again before 9 minutes, the two of them! Then it settles. "Mustang Coda" is 3 1/2 minutes of bass and atmosphere. Solemn stuff.

I'm bumping this up to 5 stars despite feeling it's their third best studio album. They've only released four shockingly plus a few live ones. A top ten band for me or at least top twelve depending on my mood but yes I'm a massive fan, a fanboy no doubt.

Despite releasing only four albums over their 25-year career, the much-loved band of MAGMA spawn's first album since 2008 and the first since the untimely and unexpected death of guitarist-extraordinaire James MacGaw has somehow almost flown completely under the radar.

1. "Off the Grid" (9:26) definitely conveying a Zeuhlish vibe, with excellent musicianship (of course)--especially from the drummer and keys, I'm surprised to find myself bored or losing interest--especially in the middle (before Daniel Jeand'heur really gets going). Also, the keyboard weave that is so central to the music is rather plain and lackluster--(in opposition to the drums). Good, solid, but not great (except for the final three minutes of drumming). (17.66667/20)

2. "Mérovée" (11:13) now here we have some excellent bass and drum work straight out of the gate! The keys are the things that take some time to step up. At the 90-seecond mark the music stops for a weird electronic keyboard exchange for about 30 seconds before stepping back into the opening motif. Another round of this and I'm really starting to get annoyed at the way the keys are holding the rhythm section back; the synth/keyboard play is almost childlike--a waste of tape and my time. Even the jazzy detuned and distorted Fender Rhodes solo in the seventh, eighth, and ninth minutes feels like their shooting for the novelty market, not trying to produce cohesive, engaging music. Meanwhile, Philippe Bussonnet and Daniel Jeand'heur do their best to remain happy in their own little world, playing of one another beautifully regardless of the keyboardists activities. The rhythm section speeds up the tempo for the final 90 seconds--which actually helps bring the keys into better alignment. Still, a very disappointing song. (17/20)

3. "Don't Ask Me" (7:14) jazz-rock fusion music within which the lead synth tries to replace/replicate the missing guitar. (Great syncopated drum play, btw.) This is actually a good thing as their sound and product has a more JAN HAMMER feel and quality to it. At 2:15 the rhythm section takes a turn down to Funky Town as one of the keyboard artists takes on an even more JAN HAMMER. Great Joe ZAWINUL-like Fender Rhodes chord play in support of his keyboard partner. In the fifth minute the Fender takes a turn in the lead and does a great Chick Corea/Herbie Hancock job. (I just love the drummer's sound palette: would love to see his set up. I think it's the Bill Bruford-like snare sound.) If the band put forth more songs like this one I think I'd be a more enthusiastic fan. (14.25/15)

4. "Mustang" (12:04) this song never really brings me in until the cool section with the "guitar" arpeggi begins at 4:25. Now that they have my attention, the band shifts into an odd and very simplistic bass and drum track within/over which the "guitar" keys try to weave some magic. It only really gets good when that "guitar" arpeggi takes the center of the weave. In the eighth minute drummer Daniel Jeand'heur finally starts to flourish, going off script to embellish and add to the mix, but then he comes back into the fold for the tenth minute's synthesizer duel (which has a boring bass line beneath it driving the song forward). At the 10-minute mark the music stops, resets with a return to the synth"guitar" arpeggio, and the full band rejoins to carry us to the finish line with power and singular intention. (21.75/25)

5. "Mustang Coda" (3:33) water flowing, hi-hat cymbal time keeping, "underwater" bass soloing. Interesting. More of a demo/étude than deserving of a fully-published song credit. (8/10)

Total Time 43:30

I've never been a huge fan of this band: I like their output but it's never really stuck with me the way the jazz-rock fusion of Return To Forever, Chick Corea, Mahavishnu Orchestra, or Weather Report or the Zeuhl of Magma or Jannick Top did.

B/four stars; some very interesting musical experimentation coming from some amazing musicians; though the music on this album does not always have all its cylinders firing, there is much promise here: I'm glad to see the band is touring as I do hope that they continue to explore new pathways and, eventually, record new music; I think that they still have something absolutely amazing to come out of their collaboration.