PROFUSION

This Italian group originally started life as a trio called Mardi Gras Experience, but they changed to Profusion, a combination of 'Progressive' and 'Fusion', in 2002 and at that time also expanded into a five-piece. This is the follow- up to 2012's 'Rewotower', which I really enjoyed, and was released in 2012. Previously, the band had been through some line-up changes but am pleased to note this is the same core group as we had on the previous release while there are just a few changes in the guests. Singer Luca Latini has a nice clear vocal style which makes her feel incredibly inviting when she is giving us a ballad, such as on "Free Fall", yet can also punch through with power when the band moves away from piano into something which is more metallic. As one might expect from their name, they are rarely happy to stick in any particular musical form for too long and bring together rock, prog, metal, pop, fusion, symphonic and synths as well as having Luca change her style.

When it was released, it was providing support to AIMA, the Italian non-profit organisation supporting Alzheimer's, with the proceeds of "Wrinkled Maiden" (which features mezzo soprano Anita Rachvelishvili adding some wonderful touches) being donated. The songs have plenty of hooks and are easy to listen to, while one never knows what direction they are going to be taken in, and the best thing is to just settle down for the ride and have fun.

Three years and a half after the excellent RewoToweR, Profusion returns with a new album, Phersu. A phersu is a male figure, depicted in painted Etruscan tombs that appears at first sometime during the 6th century BC. The phersu wears a long beard, a conical cap, a short tunic and a mask. The word means "mask" or "actor", became "persona" in Latin and went viral in many European languages. He plays a role in funerary games.

Like on RewoToweR, the music is an eclectic blend of styles on a foundation of melodic progressive metal with complex rhythm patterns and catchy melodies. The line-up of the band has not changed, which is a good thing. These musicians have a high level of instrumental skill and the clear and rather high-pitched vocals of Luca Latini are always a pleasure to listen to. The album kicks in nicely with "Snooze", a powerful song with a catchy chorus. "Freefall" starts in a similar way but moves into more complex territories. It has some lines from a verse by Georgian poet Galaktion Tabidze. Metaphor or meteor?

"Forgetful Hero" starts with gentle piano and a short powerful part before the vocals enter with a very folky melody. Hereafter it becomes heavier with alternating 5/8 and 6/8 time signatures.

In "Wrinkled Maiden" the first guest musician enters: Anita Rachvelishvili, a distinguished Georgian mezzo-soprano who has performed in many venues all over the globe, slipped out of the opera house to take a short break from the plight of the Bizets and Borodins of that world and handle the vocals in this short song. "Wrinkled Maiden" is recorded to support AIMA, an Italian organization which supports Alzheimer's Disease patients and their families.

"Nomen" is the killer track of this album. This song represents the essence of Profusion in six minutes - a superb showcase of eclecticism. Here we have two more guests: Mamuka Ghaghanidze from the Georgian fusion band The Shin on percussion and vocals and the Polish accordion virtuoso Jakub Mietła. This song is somewhat reminiscent of "Tkeshi/Chuta Chani": the first half is a strong piece of Kartvelo-prog. Halfway the song the vocal part is taken over by Luca Latini and there are some lighter and jazzier passages alternated with pounding metal riffs. The accordion adds a strong folky character to this song.

"Infinity" is one of the resting points on this album. This song is featured by the sound of a harp, though I think it's not a harp, but probably keys. And why not? If in one of the YouTube vids that accompanied this release, at some point the vocals of La Rachvelishvili have a striking resemblance to the sound of a theremin, this should be easily possible.

"Masquerade", "Veteran" and "Vanity Fair" are three songs with a length between four and five minutes and catchy melodies that tend to get stuck in your head. Yet they have alternating rhythm patterns. The album ends gently with with "Forbidden" in which the vocals are only accompanied by a piano.

Phersu may have flown somewhat under the radar so far, but it deserves more attention. It may not have the sparkling and instantly conquering charm of RewoToweR, but it sounds more mature and it is definitely a worthy successor. Not to be left for excavation by later generations.

Somebody thinks that the word "Persona" derives from this strange creature names Phersu which is represented on some painting in the Etruscan tombs. Profusion is a band from the same area, even if the drummer is Georgian. Some Georgian artists are also guests in the album.

3 years fter the excellent Rewotower which contained a masterpiece song like the arrangement of the traditional Georgian "Chuta Chani", the band is back with an album which opens heavy and powerful with "Snooze". This song is catchy, vocals and guitar are remarkable, but the whole band shows an excellent technical skill. In some parts I have heard a little SPOCK'S BEARD or TRANSATLANTIC vibe, but very much harder, and thinking better, also Riverside, mainly in the instrumental parts.

Let's go track by track, then.

"Free Fall" is opened by heavy guitar and keys. Directly in the Prog-metal realm, but the singing is melodic. The main chord sequence reminds to a 60s Italian famous pop band, the EQUIPE 84. Just a concidence, because the song changes theme several times and there is a lot of different stuff inside. I must add that I reallly like the clean high- pitched voice of Luca LATINI.

"Forgettful Hero" is opened by piano, instead. A short moment of relax after two good heavy songs. There's a short intro of Gilmour-ish guitar, but it's just an illusion, as the heavyness returns quickly to introduce a folky melodic part of piano and voice. A great song, also when the heavyness comes back. The melodic lines are always catchy. There's an american band that comes to my mind: the "1974". If you have liked that band, you'll surely like this as well.

Again a piano intro, but this time "Wrinkled Maiden" is sang by one of the guests, the impressive vocalist Anita Rachvelishvili. She's capable of clean and also operatic singing. The song is one of the more melodic of the album and I think the one with the highest commercial potential, even if it can't be considered "commercial" at all.

Back to metal with "Nomen". I don't understand if some of the lyrics are just "scat" or if they are in, who knows, Georgian? There's Jakub Mietła playing the accordion and the song has a very folk vibe, so it could even be another rearranged traditional like Chuta Chani. One of the album's highlights for its complexity. I wonder how they can be on stage. Unfortunately their website doesn't report any incoming gig currently, at May 2017.

Another unexpected instrument: a harp introduces "Infinity". A keyboard maybe? good championing, in case. This song is very melodic, and it makes me think again to RIVERSIDE (I like that Polish band really a lot...is it evident?). Should the band release a single, this could be the one.

Also the speech opening of "Masquerade" is in a perfect prog-metal vein, but the guitar base is leaning more to classic rock. Of course the signature is odd, that's prog folks!

A piano intro for "Veteran". Also this song is catchy, but it's everything but trivial. Frequent signature changes, unexpectable chord sequences, pauses, an everything going ahead smoothly. My compliments to the composer(s). The piano solo interlude deserves a mention even if short.

"Vanity Fair" opening is classic prog-metal, but it proceeds with a teathrical melody. Is it only me or there's a little bit if Genesis influence? Just a little bit before the first chorus. This is another complex song, and let me specify that I have listened to the album on headphones at high volume. I am also used to relisten to the tracks while I'm writing a review, and just now I've had a quick flash of LED ZEPPELIN, too. Really an excellent album without any weakness.

Also the closing track has a piano intro. "Forbidden" has a very melodic slow start. The vocals are important. I've tried to imagine it sang b a female vocalist. It wouldn't have been that good, I think. Latini's voice fits really well in this song. A slow song, without the metal imprinting of the rest of the album is a good choice as closer, but even without distorted guitars, the choir and Latini are enough to give it an impresion of "power".

So, even if the album lacks a materpiece like Chuta Chani, is more consistent than RewoToweR in the sense that all the songs are almost of the same (excellent) level. Another excellent addition, especially if you like prog-metal.

Rewotower was a nice suprise back in 2012 and a well-reviewed (and well-deserved) album. At the time of writing, about a year since its release, ''Phersu'', the band's third album, seems to have flown below the prog world radars.

What made Rewotower an exceptional album seems, to a degree, to be repeated here: catchy, yet peculiar, tunes, a multitude of influences, very dynamic riffs and compositions, edging more and more to progressive metal, and that character of a band. The latter possibly emanates from the near-eastern blend of influences brought to the band, which together with the Italian tempo produce something which is difficult to pass by. Even the cover of the album - a mutant mannequin/Persian prince? - tells a story, like it or not.

There is no doubt Profusion are a strange bunch delivering eclectic-yet-pop prog. This time the tunes range from 4 to 6 minutes, each telling its own story with some great narratives, linked pretty much to modern day life and challenges, and well worth exploring. Although acts such as Dream Theater come often to mind, Profusion manage to inject a much more playful approach to their songwriting, aided by the near-cynical vocal melodies. ''Snooze'' and ''Free Fall'' are strong riffy openers with catchy refrains, while ''Nomen'' builds up on this pattern with oriental melodies and accordions and turns into a folksy adventure after 2 minutes in. Then there's the more eclectic, Beardfish-y side of things with ''Masquerade'' and ''Vanity Fair'' and the much more mellow with ''Wrinkled Maiden'' (70's folksy melodies), ''Infinite'' and ''Forbidden'', which although strong lyrically, I would prefer to see less of.

If Rewotower was a 4+ album (and to my ears a more accomplished one), ''Phersu'' is probably a 4- but another worthy addition to your collection, which shows continuity in quality records from this band.

Best moments: Free Fall, Nomen, Veteran.

Italy-based band PROFUSION consists of Italian and Georgian musicians. It started out back in 2001, originally called Mardi Gras Experience, but opting to change to Profusion from 2002 and onward. "Phersu" is their third studio album to date, and was released through Progressive Promotion Records in the fall of 2015.

Eclectic, sophisticated music with half a foot or thereabouts inside the progressive metal spectrum and otherwise with a firm foundation in innovative progressive rock is what Profucion provides us on their third studio production "Phersu", lightly flavored with some subtle jazz and fusion touches and with occasional forays into landscapes drawing in inspiration from world music and folk music to boot. A well made, high-quality CD, well worth giving a spin for those with an interest in accessible yet at times also somewhat challenging and well made contemporary progressive rock of the eclectic kind.

This is among those albums (received to be reviewed in the other, Finnish-language prog site I'm a collaborator in) that don't quite fit into my personal taste but are recognizable as fairy good items of the style in question. Phersu is the third album by the Italian eclectic prog band leaning towards metal. Yeah, if you know me, you understand right away what's the problem for me: metal! But that's only one of the features here. Firstly, Luca Latini who's singing in English and has a clean but powerful tenor-like voice is very much at home in the more delicate expression too, and at least occasionally the arrangement comes down to acoustically oriented sensitivity favouring piano.

There are several guests on the album. One track features a trumpet, a saxophone and a trombone even though they don't much stick out from the band's powerplay. Mezzo-soprano Anita Rachvelishvili takes the reign in the ballad 'Wrinkled Maiden'. Sadly the song is the shortest one of the eleven. 'Nomen' with its guest vocalists (from an ethnic fusion group The Shin) and an accordionist is a fine example of the way Profusion mixes e.g. ethnic and jazzy elements into their metal oriented prog rock. All in all, a bit too metallic to my taste, but I guess a large number of more metal-friendly prog listeners might find this album very good! 3½ stars rounded down because of the boring and textually unpractical layout.

PS. Let it be also known that by buying this CD (or 'Wrinkled Maiden' separately) one supports AIMA, the Italian non-profit organization helping Alzheimer's disease patients and their families.

After 2012's 'RewoToweR', that took 6 years of line-up changes, writing down and polishing, Profusion return with 'Phersu', named after a man-like creature painted upon some ancient Etruscan tombs. Although all five guys from the previous album are at work here, their art has perceptibly evolved, especially composition-wise.

The album doesn't feel as catchy as instantly lovable 'RewoToweR', but it is quite a grower. Though it is still very colourful, it drops the search of instant appeal in favour of a deeper musical exploration that ultimately rewards. Interestingly, the opening two songs of the album are full with rhythmically interesting, broken-down guitar riffs, which, together with Luca Latini's characteristic vocal delivery, sounds like a progressive correlate of mid 70's heavy-funk Deep Purple, especially when Glenn Hudges used to take the singing spot.

Georgian motives are yet again very prominent (Vladimer Sichinava is a Georgian living in Italy), especially on superb 'Nomen' (with Mamuka Ghaghanidze from a Georgian jazz/rock band 'The Shin' on vocals and Jakub Mietła on accordion as special guests) and 'Free Fall' which samples the poetry of Galaktion Tabidze, one of the greatest ever Georgian poets.

There are couple of very sentimental moments on the album too - brought to the fore with minimally but very freshly arranged closer 'Forbidden' and especially gorgeous 'Wrinkled Maiden', featuring excellent Anita Rachvelishvili and dedicated to people suffering from Alzheimer's disease.

Other songs mostly feature different combinations of piano-led softness and riff-based grandiosity, with 'Forgetful Hero' being the highlight. To sum it up, this is an album that doesn't follow the successful formula established by the previous album ' instead progressing to new sound and compositional expression, while retaining Profusion's trademark lightly essence.

After quite a number of listens, I still prefer 'RewoTower', but 'Phersu' is an excellent follow-up, impressing more and more with every successive listen. Very solid 4 stars for now and warmly recommended!

Hailing from Colle Val d'Elsa, a small town in the province of Siena, Profusion began life as a trio in 2001 under the name Mardi Gras Experience, influenced by the American prog scene of the nineties and by bands such as Planet X and Spock's Beard. In 2002 they changed their name into the current one combining the words "Progressive" and "Fusion" and four years later they self-released an interesting debut album entitled One Piece Puzzle. After a good live activity on the local scene and some personnel changes, in 2012 Profusion released their second full length work, RewoToweR, on the independent label ProgRock Records with a renewed line up featuring along with founding members Vladimer Lado Sichinava (drums) and Gionatan Caradonna (keyboards) also Luca Cambi (bass), Thomas Laguzzi (guitars) and Luca Latini (vocals) plus some guests such as Simon Hosford (guitar), Titta Nesti (vocals), Andrea Beninati (cello, percussion) and Andrea Libero Cito (violin). The overall sound on this album is rich and full of energy, the songwriting is good and mixes different influences ranging from metal to world music. According to the band, their music is a spiral of genres, tones and rhythms, melted and tangled together that tries to convey an original message dealing with musical flexibility and research while the album is conceived as a path that guides the listener into a tower and where each song reveals a new plan, a new step that allows you to reach the top. An ambitious project indeed, anyway there's no real storyline and the meaning of this conceptual work remains a bit foggy and open to various interpretations and sensibilities...

The nervous opener "Ghost House" conjures up in music and lyrics a nightmarish mansion on a hill overlooking an American town. It was built long time ago by a mysterious man coming out of the blue who, since then, has always been locked in, like a ghost. Rumours, imagination, fantasy, fear, rage... Eventually the town's folk try to break in the house to see what's hidden in its dark rooms but what they find there is nothing but a surreal vision of their own lives under the light of the moon. Here the atmosphere reminds me of some stories by H.P. Lovecraft or Stephen King such a The Dreams In The Witch House or Salem's Lot...

Next comes "The Taste Of Colours" that is divided into two parts and tells of the personal crisis of man who has lost his identity. It starts softly, with piano a vocals. The protagonist of this piece seems condemned to live all his life in black and white but when he's alone he's still able to see the colours that shine inside his soul and he can break through the dull sense of apathy that's hanging all over him, diving in the inner light his of self consciousness to paint a secret place where to live in peace and harmony...

On the following "Treasure Island" the borders between dream and reality are blurred while the lyrics quote Robert Louis Stevenson and evoke a ghostly sea song and fifteen drunken men dancing on a dead man's chest with a bottle of rum. A man is sailing across an unknown ocean of hopes and doubts, he can't find the right course and he feels like a damned fool at the mercy of the waves, deeply falling into nonsense... Then comes "So Close But Alone", a piece that starts just by piano and vocals before veering to exotic islands and spiced atmospheres built upon Latin rhythms and flamenco sketches while the lyrics evoke the painful memories of a betrayed love...

The short instrumental "Tkeshi" features a strong ethnic flavour. The title is a Georgian word that means "Into The Woods" and introduces the following "Chuta Chani", a wonderful traditional Caucasian lullaby from Georgia re-elaborated and transformed into something unusual and new with sudden bursts of energy and even tarantella passages. After all, the drummer Vladimer Lado Sichinava was born in Tbilisi and he's proud of his roots: just take the time to compare Profusion's version with the one by Lela Tsurtsumia...

"The Tower" is a complex track divided into two parts that tells about a man obsessed by the dream of building a tower to reach the sky. Every night his sleep is haunted by sounds of iron work and images of incomplete shapes and incomplete walls. Eventually that tower will be buried and from the top of its ruins he will start to fly... A nice track that in some way reminds me of some atmospheres from Stephen King's Dark Tower saga

"Turned To Gold" is a romantic, melodic ballad that tells in music and words of the cathartic effects of a new relationship with someone that seems to understand you and complete your soul... It leads to the closer "Dedalus", a long, complex track about the mysterious architect who planned to build the metaphorical, labyrinthine tower that marks this strange concept album: a living building where he's imprisoned for the eternity, a building that irepreents in the meantime the wonderful fruit his creative work and his damnation. In the end a reprise of the first track closes the circle inviting you to listen to the album again, reflecting about time and dreams, hopes and old fears... You can listen to the complete album on bandcamp: have a try!

Popular eclecticism or eclectic popularity?

This phrase captures in a nutshell Profusion's second release, six years after their very interesting debut. In the meantime they found, or rather further developed, this extra "popular" touch that has made their sound more accessible, maintaining their eclectic nature.

Rewotower is an amalgam of several aspects of progressive rock music, and "popular" eclectic prog, even if it sounds as an oxymoron, can broadly describe their approach. In here you can find progressive metal and heavy prog mixing freely with art rock, neo, latin and modern "happy" eclectic prog. The main references that come to mind, although I have not delved into any of these, are A.C.T., Beardfish and The Tangent.

The first thing that strikes you listening to this album is the dynamic vocals from the opener and the up-tempo positive feeling, boosted by the strong melodies and the heavy-edge riff/ neo prog keyboard combination. This pattern is followed in half of the tracks - Ghost House, Treasure Island, Chuta Chani, Tower (pt. 2) and Dedalus Falling - while the remainder flows in more melodic, slower-tempo rhythms. From the heavier side, sounds from Rush, Tiles and the more recent Haken, without excluding the influence from progressive metal, have impacted on the riffs of Profusion. The two styles interchange constantly providing this nice up-and-down variation.

Influences from Mediterranean, latin (The Mars Volta anyone?) and oriental music make their appearance half-way through the album and form the major part of So Close but Alone, Tkeshi and Chuta Chani (the latter clearly being one of the album's highlights). Great choice to put Dedalus Falling, which is probably the most memorable tune, as a closer to this excellent album, although its 11 minutes are interrupted by a 2-3 minute silent break.

Rewotower is definitely one of the best albums of 2012 and could spin a few times without me noticing, as it is extremely pleasant to listen to. The nice balance of catchy riffs-refrains/short tracks and challenging music is potentially the most valuable asset of this album. Progressive music can certainly become more popular through such releases; which is something that a few might find annoying...

Profusion create an album with a myriad of diverse styles mixed into a bubbling cauldron of prog metal meets jazz fusion, Latino acoustics and beyond.

Profusion are an Italian quintet that refuse to remain in a box but explore other musical territory blowing the doors off boundaries that are usually inherent with prog metal. They are not afraid to explore new ideas, and seem to be focussed on blending genres, rather than to stay with the familiar. The album "RewoToweR" is a concept album that relies heavily on personal interpretation but overall is an allegory to climbing to greater heights in life. Within the spectrum of conceptual ideas are some poignant lyrics concentric on the steps that guide the listener into a tower and then the ascent becomes a descent as the album becomes full circle. As the album progresses there is a plan revealed that guides you to the top. The musical scape changes with each step and is bookended in the same way the title can be read backwards or forwards. There are some deep conceptual ideas enmeshed in the album, and the music is like a maze or a puzzle that has a plethora of solutions; similar to a fractal mirror.

'Ghost House' is the first step to the tower, and within are ensnared intricate metal rhythms, and outstanding vocals that are very melodic. The melody in fact is bookended at the end of thhe album so this is like a never ending cycle, perhaps akin to walking on Escher's illusionary never ending spiral staircase that can either go up or down. Interwoven in the mix are Thomas Laguzzi's spiralling twin guitar harmonics, cymbal splashes and then a blistering riff crashes in. Luca Latini's vocals remind me of Klaus from Scorpions at times, very high and full of descant. There are polyrhythmic notes, similar to Soft Machine. Gionatan Caradonna's staccato jabs of keyboards build an intensity, and especially Luca Cambi's pulsing basslines and Vladimer Sichinava's drumming metrical patterns that form anti-rhythmical shapes.

'Taste Of Colours - Part 1' is a genuine oddity that could be described as Jazz Metal. Latini's jazz singing is excellent, and the song is eclipsed by challenging rhythms. It segues to 'Taste Of Colours - Part 2' seamlessly, with a distorted guitar crunch. The song is augmented by some incredible singing, such as Latini holding a note "within my eyes" for a sustained time. The lead break soars beautifully over the layers of distortion, and it is balanced by keyboard ambiance; one of the best lead breaks on the album.

As we climb the tower the music becomes increasingly more bizarre, and 'Treasure Island' is out of the box. It begins with atmospheric waves crashing, creaking oars, wailing sailors, and whimsical pirate vocals. Layered over this is a synth and guitar melody with off kilter tempo changes. The pirate singing may be a bit over the top but this is a one off and gets its point across. The rasping "come with me yaha follow me" is pirate parody and the chorus saves it from complete farce, with a sing along melody. The music is all over the place and even sits on some trippy techno. The whispered "yoho and a bottle of rum" is clichéd, but this is prog at its boldest. The pirate sea voyage could be an allegory for searching for meaning in the sea of turmoil.

'So Close But Alone'is a sweet heartfelt ballad, with scintillating piano, gentle vocals from the soul, and a steady measured tempo. It builds with a jazz fusion feel, then gets into an extreme Bossa Nova and jazz scatting style. This is really a surprise after al the prog metal previous, but it verges into some cool soulful scat and jazz fusion piano and percussion meters. Finally it settles into a Spanish tango with acoustic vibrations. There is some beautiful playing here, and the mixture of genres is one of the most endearing things about the album as it encompasses so many emotions and moods. This even has a lounge music feel at the end, with a very relaxed jazz exploration, and scat ad libbing.

'Tkeshi' opens with crickets chirping and owls hooting in the stillness of a nocturnal forest. There are footsteps trudging and some crackling fire is heard, followed by acoustic guitar. This is very moody and feels as odd as some of the stripped back music of Godspeed You! Black Emperor. Some African tribal chants begin, the primitive stick clashing is part of the primal mood, and the violins come in with a serrated and dissonant edge. A metal guitar repeats the fractured melody and then vocals emulate the melody. We are into the next track here.

'Chuta Chani' has a terrific metal riff that locks in, the singing is clear again and there is some dynamic organ later augmented by a synth solo, striking after the primal atmospheres previous. Caradonna is a revelation on keyboards, his work is exceptional here, and it has a grinding distorted guitar riffing beneath keeping things heavy. This is one of the proggiest tracks with all of the tight virtuoso playing and lengthy instrumental breaks. This is the Jordan Rudess moment, and then it moves back to the melody and singing. Once again an oddity on the album but one of the best tracks for all the reasons stated.

'The Tower - Part 1' begins with Dream Theater/Threshold riffs maintaining the complex time sig. The singing is easy on the ears coloured by shades of layered harmonies with the most infectious melody. The off kilter time sig is ambitious, and the music is dynamic, with both part 1 and 2 being a suite of songs that run together as a concept, presented in huge blasts of metal juxtaposed with ambient swathes of symphonic keyboards. There is certainly a heavy texture with chugging distorted guitars but the everpresent keyboards underneath are reminiscent of Riverside's style, along with the pristine vocals.

'The Tower - Part 2' has the same melody as previous part but is augmented by violins and a heavier percussion. The music gallops along and features another incredible extended keyboard solo. The lead guitar takes over with some fret melting arpeggios and high sustained string bends. Caradonna's keys trade places again and pulls off some awesome speed fingering, then more lead guitar finesse from Laguzzi; an excellent trade off between instruments in this section similar to Rudess and Petrucci of Dream Theater. When the vocals return with the measured melody of part one, it brings us back to the "dreams" motif and after we hear the final lyric "time to fly" it is evident this has been an incredible journey; a masterful track.

'Turned to Gold' begins with acoustics that gently play and the jazzier vocal style dominates. I like Latini when he is in this jazz mood and it works as such a diversion keeping this interesting. The experimentation of mixing genres is one of the most compelling things I have heard in a long time. When a band can produce songs on an album that do not all sound the same with the same rhythms and styles it can be a strangely absorbing experience. It really keeps the listener on their toes, and on the third listen of the album I found myself preparing for the odd jazz diversions and differing styles; such a pleasurable listening journey, differentiating the album from the plethora of prog metal albums being churned out that all sound the same. I think the album will delight listeners for these reasons but also is adventurous in that it may throw some of the more intense metalheads for a curveball.

'Dedalus Falling' is the final step up to the top and returns to metal elegance, the metronomic riff that opened the album returns. The lead guitar howls in ecstasy and some dazzling fret work follows. The gentle vocals enter, still with a lounge jazz feel. The chorus is infectious and memorable with some great lyrics bout "the tower leading to the sky". An instrumental break allows for more synth and fierce axe work from Laguzzi. This track fades out but has a ghost track that fades up after a cold silence, as if we are now on our way beack down the spiral staircase. The same melody as opened continues the cycle bringing this full circle, like moving around a tower in a lost state spiraling round and round, never ending.

Profusion have created some extraordinary songs on "RewoToweR", that has a myriad of diverse styles mixed into a bubbling cauldron of prog metal meets jazz fusion, Latino acoustics and beyond. I was not prepared for such a mixture of styles so it took me by surprise. Too often albums form a particular genre sit safely on one idea, especially metal where every song cranks out a blistering lead break or a power chord structure staying on one repetitive riff. Profusion have contrarily opted to explore a range of styles to bring across the concept of climbing up tower steps. It works because they never overdo any particular style but give each track just the right amount of musical flair. There is metal here as one would expect but it is not overpowering; there is a fair amount of beauty too with some relaxing passages of ambiance, and there is also some explosive lead guitar soloing and keyboard dexterity. The album encompasses all that I love about prog, and it is a perfect example of how to do it the right way without being overly excessive on any one idea; a marriage of melodic metal guitar riffing and symphonic keyboard washes wrapped in the gantry of an extraordinary conceptual framework.