ALTESIA

Altesia's debut album sets the status quo for what the band's sound is gonna be. In a way, they're as if you took some of the more rocking songs from Dream Theater or Haken, and put that as a focus, creating a prog metal sound that's easier to get into on the spectrum. I don't have a problem with this, especially since I like the sound they got going on. It may not be mind blowing, super intense, or any of the in-between, but it's still fun to listen to in my personal opinion.

The band also shows a good willingness to be eclectic, trying some new things with each song to see what sticks. After all, a debut doesn't always have the right sound right away, and a band should always experiment to see what sticks. Some of the best bands out there, especially in prog rock, don't always have the right sound off the bat. Look at Renaissance, or Genesis, or Pink Floyd, or hell even Dream Theater. This band draws quite a bit from Dream Theater (a bit heavily I might add but I'll get into that later), and that band didn't have their sound down pact, having their first album be more in-line with symphonic metal and AOR than what they're known for now.

I also really like the keyboard work on here. They work very nicely in tandem to the guitars, and give the album a more unique style. I especially like the organs at the beginning of Amidst the Smoke, which give the song a pretty haunting intro.

The longer tracks are also really nice, especially Reminiscence and the epic of Cassandra's Prophecy. Cassandra's Prophecy is a 17 minute epic, so it was bound to be a favorite of mine, but Reminiscence is also a highlight here. It changes quite a lot, and over the course of its runtime, you can go from fairly great prog metal jams to jazzy synth works, to even a moment that feels like it came out of a funk metal song. It's symphonic, eclectic, and pretty fun. Easily the best track on the album for me.

Though, while listening to this album, I start to realize how much it kinda just sounds like Dream Theater, or any of those other fairly standard prog metal bands out there. Obviously I am fine with some derivatives, I mean, I like retro prog a lot, and that sound draws heavily from symphonic prog bands of old. But also MAN does this debut make Altesia kinda sound like Haken copycats, which they aren't, but still there is definitely some overlap in sound, which I think kinda harms the album.

Also, while I do like that they're more softer in their metal approach, I kinda wish they got a bit heavier. They kinda do it on Hex Reverse, with some harsh backing vocals, which are pretty awesome all things considered, but I kinda wish they really delve into some heavier sounds here and there for some surprise factor. At least it seems like, with their single of Her Ghost In Limbo, their up and coming album will go full throttle into the heavy metal aspects of the band, so that'll be exciting to see.

Despite being derivative and not all that intense, Altesia does prove on their debut they're a capable band creating great progressive metal. Not an amazing record, but I'd be damned if I said I didn't like what I heard from it.

Best tracks: Reminiscence, Amidst the Smoke, Hex Reverse, Cassandra's Prophecy

Worst track: Pandora

"Micromegas" for a romantic-depressive ballad, a slow crescendo, a sinister voice, a violin, an acoustic guitar and a beautiful title to put forward the bucolic atmosphere, very melodic and beautiful introduction to the final spleen par excellence. "Mouth of the Sky" takes off; rhythmic metal prog flirting on the DREAM THEATER at the start, sublime intro anyway! Keyboard solo apart showing the instrumental richness, it goes to djent, black / death metal, the orchestration provided comes and goes influencing the tempo and intensity of the title, Clément and Alexis playing on the HAKEN sound even if it is ALTESIA. "The Remedial Sentence" on a varied, symphonic, almost classical variation; a thundering sharp riff where wind instruments and strings orchestrations set the mood until the jazzy piano-voice break at the MUSE then an escapade in the Zappatian footsteps! Return with riff and keyboards to DEEP PURPLE for a moment before returning to the great DREAM THEATER with a final rock opera hint; the metal guitars recall the signature in the background. "Autumn Colossus" as an ambient melancholy musical interlude; a very smooth track, a slow dreamlike rise on a cool, calm, introspective track; does the guitar solo add a bit of metal meaning to the aggressive or divinatory finale? "Sleep Paralysis" with an explosive title, a little madness, a lot of musical madness with SLEEPYTIME GORILLA MUSEUM, ZAPPA, prog opera, accordion and a break waltz balkan-musette; a deluge of crazy prog- metal-fusion notes; riffs that go all over the place, a throaty song from drummer Yann; title to listen to several times, it is complex, varied, bombastic. "A Liar's Oath" in the tradition of a LEPROUS just for the distinctive voice, on a pop-metal sound full of emotions; we navigate on the last SOEN, on the early HAKENs, a bluffing track that also makes you want to see the group stand out from these tenors.

"Exit Initia" with the centerpiece, the caviar, the meticulous goldsmith's piece following on from "Reminiscence" from the last opus: - "Excipit Omen" and that deluge of sympho-progressive intro DREAM THEATER that sticks to your seat, just listen instead of reading me. - Guidance 'on a jazzy crooner interlude, solo sax, the pink panther needs to behave; another drawer leaves on a fruity keyboard solo then the guitar solo which squirts and we find the intensity of a HAKEN. - "Horus' Crown" subtly shares on ZAPPA and his colorful research; the instrumental gives way to the different actors. - "Apogee of a King" with the majestic piano sequence, more pompous melodic finale where Clément's voice acts as a catalyst; a summary title where each of the musicians gives the best of themselves ... and it's over despite the sound of the seagulls.

ALTESIA has released a trap album, stuffed with obvious varied sounds, distinctive styles, showing the extent of his musical knowledge in metal as well as djent, death, baroque opera and jazz. This diversity can slow down because of so much variety, it can also intoxicate but will not leave you indifferent. Plunged late into this musical bath and only offering you my column at the beginning of the year, I hope it will allow you to follow me in my literary immersion and confirm that you have to listen, research, listen to fall on the rare pearl which sat enthroned near you without knowing it; in short, a must.