OPUS EST

And then I'm talking mainly about the vocals of Hakan Nilsson. In some of my reviews I stated that I would not complaint too emphatic about vocals anymore since many progbands happen to deal with (very) debatable vocals. But mr Nilsson is where I draw the line unfortunately. This voice really gets on my nerves and worse of all: is present very dominantly in just about every song on this album. Besides this he is most of the time accompanied by a very annoying organ that has more or less the same impact on me as the vocals. And if I tell you we are talking about 80-90 % of the sound on this album with these two negative aspects I think I made myself clear enough.

This is a personal opinion though. I read a review on an Uzbeki (!) prog review website about this album and the reviewer was actually very positive and gave it 4 stars. So I have to say this in the benifit of the album. I would take a careful listen before buying this is my last advice. I can only give this one star because of the statements above. Maybe I should be more respectful to it because it's from 1983, as most of us know a year in a period (early eighties) in which prog was just about stone dead and neo prog was trying to revive it. I know this but still I can do nothing else but judging it for what it sounds like.

The first four songs (1979 and 2004) are inspired by mid-Genesis (keyboards and twanging guitars) and early Yes (Jon Anderson-like vocals) but Opus Est doesn't sound as a clone, the band has succeeded to blend their sources of inspiration with lots of good ideas. I was delighted about the interplay between the guitar and keyboards but I also enjoyed th pleasant shifting moods, the fluent synthesizer flights, the sensitive electric guitar and the folky interludes with flute and acoustic guitar. Remarkable are some parts with fiery electric guitar (also wah-wah pedal use) and some powerful breaks, these moments showscase Opus Est their appreciation for Mahavishnu Orchestra. The four songs from the 1983/1984 era sound different and varied: a propulsive rhythm with sparkling keyboards in Springtime, swinging and a bit funky with fiery guitar in Winter, dreamy with warm piano and vocals and a final part with howling guitar in Marie-Claire and a wonderful atmosphere and great build-up with fat synthesizer runs and Hakcett inspired guitar in the final song Square The Circle.

Don't expect the level of bands Yes/Genesis inspired bands like Neuschwanstein, Netherworld, Lift or Druid, just enjoy this tasteful arranged, very melodic and varied progrock album with beautiful work on guitar and pleasant keyboards.