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THE WRONG OBJECT

Jazz Rock/Fusion • Belgium


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The Wrong Object biography
Biography taken from the band's website:

Blending the cosmic energies of Nu-Jazz with modern rock sensibilities and live electronic devices, the music of the Wrong Object is influenced by a vast array of artists ranging from Canterbury Scene prog rock à la Soft Machine and Gong to Béla Bartok, Squarepusher, Aka Moon, Charlie Mingus, Sonic Youth and Frank Zappa. While their repertoire contains mainly original compositions, they also play a special set of Zappa covers on demand. Since its creation in early 2002, The Wrong Object has played some seventy gigs in various venues ranging from small pubs to big festivals. Some of them were augmented by guest performances by the likes of Ed Mann, Elton Dean, Harry Beckett, Annie Whitehead, Alex Maguire, Robin Verheyen, Marc Mangen, Domguè, Marco Maurizi, Nicolas Ankoudinoff, Clementine Gasser, Frogg Café, Jaap Blonk, and pataphysician-poet-vocalist Andrew Norris, whose work with the band culminated in a show held at the Galerie 2016 in Brussels on the occasion of Serge Vandercam's 79th birthday. After a successful mini-tour of the UK, they performed at the 2004 "Zappanale" festival where they played a special gig featuring Zappa's legendary percussionist Ed Mann, with whom they also hope to play a few more dates soon. The Wrong Object have since then played in many different countries (including England, Germany, France, The Netherlands, Czekia, Slovakia, Luxembourg and even Belgium) and their live recordings have been favorably reviewed and aired by radio stations across the globe. They will continue to perform in pubs, clubs and theaters next year and will play Summer festivals abroad. Their side projects "Elton Dean Meets The Wrong Object" and "The Wrong Object feat. Annie Whitehead and Harry Beckett" were documented by two CD releases issued by Moonjune Records and Voiceprint. Their new studio album, "Stories from the Shed" (Moonjune Records), was released in December 2007 in Europe and in January 2008 in the USA.

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THE WRONG OBJECT discography


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THE WRONG OBJECT top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.94 | 7 ratings
The Unbelievable Truth (with Elton Dean)
2006
4.08 | 5 ratings
Platform One
2007
3.60 | 10 ratings
Stories From The Shed
2008
4.04 | 65 ratings
After The Exhibition
2013

THE WRONG OBJECT Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Live 2005
2005
3.00 | 1 ratings
Live at Zappanale 2008 (with Stanley Jason Zappa)
2009

THE WRONG OBJECT Videos (DVD, Blu-ray, VHS etc)

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THE WRONG OBJECT Reviews


Showing last 10 reviews only
 Stories From The Shed by WRONG OBJECT, THE album cover Studio Album, 2008
3.60 | 10 ratings

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Stories From The Shed
The Wrong Object Jazz Rock/Fusion

Review by Sean Trane
Special Collaborator Prog Folk

4 stars Third or fourth album (depending whether you consider the Elton Dean session as a TWO album) from this Liège group, still with the same line-up as before, but this time the album was released on the great Moonjune label. Once again guitarist Michel Delville is the main songwriter, though all four other members have at least two credits or co-credits. There is no real explanation for this very forest- infested album title and artwork, and to be honest, the dominance of green on the digipak doesn't match the music, which tends to red hot, even more so than the woman's red hairs ion the artwork.

Opening on a few bars of a Klezmer-Manouche tune (like we've all hear a thousand times before), Sonic Riot veers a tad Gong-esque with an excellent closing passage with spacey electronics and trons. 15/05 is building on that feeling and the electronic gizmos are gaining in importance. As the album progresses with every new rack, one can only be captivated with the typical British jazz and JR/F scene of the 70's. Indeed, the shadows of Elton Dean, then Harry Beckett and Annie Whitehead (all participants to the band's previous efforts) seem to hover all over the album, much to our delight. There is a real tension that gradually builds up through tracks like Sheepwrecked (Crimson circa Lizard meets Wyatt) and following blistering Acquiring The Taste and Lifting Belly, where a Canterburian feel seep through via fuzzed-out instruments. The adventurous explorations continue, from the trashy Matching Mole-ish Malign Siesta to the lava-boiling Waves and the out-of-this-world Saturn. The album ends with a rework of Delville's Unbelievable Truth from the Elton Dean session album of the same name.

If you must own only one album from TWO, it would be a die-hard choice between the Dean collab and this one, but if you're into a more classical progressive, their latest album After The Exhibition, which is some kind of rebirth (given the important line-up changes, we can almost guess the band came close to a term) is also quite an awesome realisation. Personally, Shed is my personal fave from these guys.

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 After The Exhibition by WRONG OBJECT, THE album cover Studio Album, 2013
4.04 | 65 ratings

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After The Exhibition
The Wrong Object Jazz Rock/Fusion

Review by Sean Trane
Special Collaborator Prog Folk

4 stars To be honest, by the start of the last calendar year ('13), after a four to six year silence, I thought that TWO was a dead thing. It sure seems like the project certainly went through a delicate phase, since there remains only two members from the line-up that had recorded the awesome Stories From The Shed. Indeed only leader Delville and drummer Delchambre remain, the main change being the addition of Antoine Guenet (ex-PaNoPTiCoN and presently also in the new Univers Zero line-up). Actually, if memory serves, most of the newcomers come of PaNoPTiCoN, which never had a fixed line-up anyway, due to the concept of the project. Elsewhere Pollard gave way to Mottet on bass, and Melia and Lourtie are now blowing the horns, and the always excellent vibraphonist Benoit Moerlen appears as a guest on no less than four tracks. So, something did happen, and TWO's rebirth six years after is a sweet gift, courtesy of the great Moonjune label.

Despite the heavy line-up changes, you'll have no problems recognizing instantly TWO, but I would not call ATE just another Wrong Object album. This is probably the band's most "prog-rock" album, despite retaining its heavy JR/F and Zappa atmospheres. The heavy Detox Gruel is a mix of riffs and gypsy jazz music. The three-parts and almost 17-mins Jungle Cow is the centrepiece of the album, but hardly the most accessible, as the first two movements are often bordering on dissonance, but it remains reasonable, and the third really delivers the good with some cool dramatics. The following Glass Cubes features female vocals, and though it brings a breath of fresh air, though the start has a "déjà-entendu", but the second part sounds like a cross of Gong meets Kate Bush.

A fine return to affairs from a group most of us thought dead (or at least dormant), although it doesn't reach the perfection of Stories From The Shed. While ATE might not be the most representative of their usual soundscapes (given the important line-up changes), it's still very much a worthy TWO album, and ranks in my top 5 album of 2013, among with Maalouf's Illusions and Setna's Guérison. Definitely worth investigating.

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 Platform One by WRONG OBJECT, THE album cover Studio Album, 2007
4.08 | 5 ratings

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Platform One
The Wrong Object Jazz Rock/Fusion

Review by Sean Trane
Special Collaborator Prog Folk

4 stars Although I'm not familiar with every release of TWO's discography, I believe that this could be the project's first real studio release that has no direct link with Frank Zappa's musical oeuvre that still today is one of the band's raison d''tre. Of course, you'll still find the Zappa covers of Filthy Habits and Big Swifty on Platform One , but this album is mostly about serious JR/F (English-styled) with two of Britain's jazz scene stalwarts, the legendary Harry Beckett and the female trombonist extraordinaire Annie Whitehead. Not sure what the modern industrial landscape pictures of the booklet bring to the music's intent; but those who favour 70's torrid fusion ala Nucleus or later Soft Machine, you're in for a treat' Of course their previous collab Unbelievble Truth with Elton Dean and here with Beckett will be a slight hint, but it's only by inserting the disc in your laser beck that you'll be certain of it.

Right from the first notes of the opening intro of Honeypump Riff's ntro, you'll just know that you've hit paydirt and the roller-coaster ride will be a thousand times worth the gate's tariff. And once the excellent cover of Zappa's Big Swifty reaches your ears, you'll be almost disappointed that the band doesn't stick with their own compositions, or one of the famous guest's compositions. Whitehead's Platform One double dapper is certainly one of the album's centrepiece, and everyone fires from the own pistons, wind instruments or not - actually only Beckett and Dellicour have some (pistons), but the V-8 cylinder engine runs smoothly anyway. The other Zappa piece is a much better (and fitting in the overall concept) reprise than its predecessor, Delville filling Frank's hoes in a very different (and yet totally awesome) manner, with a fiery guitar solo. The Delville-composed Wet Weather has a slight 100 MPH Peter Gunn trashy quality, which contract with the gentler Beckett-written Scarlet Mine, which oozes standard/boppy jazz, which again contrast heavily with the gentle-ballad Tinseltown with a stupendous succession of wind instrument solo, initiated by Dellicour's sax underlined by Sun-Ra type of drumming. The closing 1'-mins Hello Mas overstays its welcome and is over-repetitious, though.

Of course, the main attraction to the album is Beckett and Whitehead's names, just Elton was for their previous project, but what's really the meat of the album is the TWO band, which will have a fairly stable line-up (for the jazz scene anyway) for a small decade. Lead by guitarist Michel Delville, the wind trio of Delplancq, Dellicourt and Estievenart is the other backbone of the band. Though the album contains less than 50% of the tracks written by TWO, there is no doubt that this album's artistic success gave them the self-confidence and assurance to pull out the pure masterpiece that would follow: Stories From The Shed. In the meantime, Platform One is definitely one of the band's peaks, though it must fell like the Annapurra next to the Everest.

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 After The Exhibition by WRONG OBJECT, THE album cover Studio Album, 2013
4.04 | 65 ratings

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After The Exhibition
The Wrong Object Jazz Rock/Fusion

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Belgian band THE WRONG OBJECT was formed in 2002 by Michel Delville. Since then half a dozen albums have been released by the band, the majority of them either live albums or productions recorded live in the studio, most of them featuring notable guest musicians. Their most recent album, "After the Exhibition" is a regular studio album, however, and a pure band effort at that. This CD was released in 2013 through the US label Moonjune Records.

The Wrong Object's latest studio effort "After the Exhibition" is a production that should appeal to a dedicated niche audience within the progressive rock universe: Those with a firm interest in demanding, challenging material in general, and those amongst them with an affection for jazz and jazz rock most of all. I suspect that the greater majority of the latter crowd will find this album to be a highly rewarding experience.

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 After The Exhibition by WRONG OBJECT, THE album cover Studio Album, 2013
4.04 | 65 ratings

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After The Exhibition
The Wrong Object Jazz Rock/Fusion

Review by DrömmarenAdrian

4 stars The Belgian grouip The Wrong Object has existed in seven years and this is their fourth record. They play a powerful and interesting jazz rock and the band has the members Michel Delville(guitar, roland GR-09), Antoine Guenet(keyboards, vocals), Marti Melia(saxophones, clarinet), Francois Lourtie(saxophone, voice), Pierre Mottet(bass), Laurent Delchambre(drums, percussion), Benoît Moerlen(marimba & electric vibraphone) and Susan Clynes(vocals). The cover is nice, like a painting with an angel or something. i think this is the first Belgian band I hear ever.

As near all modern records the lasting time is quite long but the contant has high quality. The Wrong Object shocks me with the first song which is totally perfect, a masterwork in its genre. "Detox Gruel" is powerful melodic jazz rock with monstrous soxophones shaping a wonderful sound. The saxes play a big role over the whole record and the listener won't be disappointed with this record. Such an explosion as the first track won't unfortunatley return. I consider "Frank Nuts" as an almost perfect track and the only song with (real) vocals "Glass Cubes" is mighty. The power in that track is almost symphonic and the band really show class. Of the other tracks I also would recommend "Spanish Fly", "Yantra", "Wrong but not false" and "Stammtisch", all exciting jazz rock in different styles.

The biggest disappointment is that the perfection of the first track doesn't come back. Also it could have been nice to hear more vocals when they did it so good on one track. The "Jungle Cow" trilogy is also an inferior row with quite uninteresting sounds which lower the full impression a bit. But this is still an even and intriguing record I would recommend. Fusion has big opportunities, both for listeners and musicians. Four stars!

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 After The Exhibition by WRONG OBJECT, THE album cover Studio Album, 2013
4.04 | 65 ratings

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After The Exhibition
The Wrong Object Jazz Rock/Fusion

Review by kev rowland
Special Collaborator Crossover Team

5 stars It has been five years since the last album from The Wrong Object, during which time they have morphed from a quintet to a sextet, and have also taken the opportunity to take fusion to a whole new level, as they bring together traditional jazz elements with rock and electronic experimentation which normally doesn't dare show itself within this genre. The result is a progressive jazz hybrid that is going to excite many, while shocking those who feel that they knew exactly what to expect from the genre. Some of the music seems highly structured and layered, while other areas appear to be much more improvised, but often bringing in and melding musical elements which normally would not be seen dead in the same room together.

The new line-up Antoine Guenet (who is also the leader of SH.TG.N, as well being a new recruit to Univers Zero) with two sax players, Marti Melia and Francois Lourtie, which allows the band to provide harmony and complexity. Added to that is new bassist Pierre Mottet who has locked in with drummer Laurent Delchambre, while Michel Delville (guitar and electronics) is able to fully explore all musical avenues as he has with him a cadre of musicians who will follow wherever he dares to lead.

This is progressive jazz fusion for a new era, and has an edge that is missing from that of the Seventies bands, and is all better and dynamic for it. This is music that takes you on a journey, but it may just be a harder and rougher one that you may have initially imagined but will be all the wiser for getting to the other side. Yet another classic from Leo's stable, this is essential.

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 The Unbelievable Truth (with Elton Dean) by WRONG OBJECT, THE album cover Studio Album, 2006
3.94 | 7 ratings

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The Unbelievable Truth (with Elton Dean)
The Wrong Object Jazz Rock/Fusion

Review by Sean Trane
Special Collaborator Prog Folk

4 stars Whether this is an Elton Dean album or a Wrong Object one is up for debate, but I'm more of a partisan of classifying it with TWO's discography, because four of the seven tracks are TWO compositions (and therefore 'new', while the three Elton pieces are almost old standards. Nevertheless the two parties had arranged for more than just one session/gig, but Elton's health would not allow it, since he departed for the big jam session in the naught. They'd had prior contacts and had sent tapes to each other.

Aymeric tells us of the circumstances of this gig, and how the band had barely had anytime at all to set up and no sound-check to play the first half of the gig, as usual, mostly made up of Frank Zappa covers. Then Elton joined them for the second set, and right from the opening Seven For Lee, all madness breaks loose. In many ways, we're not far away from Soft Machine's type of fusion during Elton's tenure in that band, but this is valid for much (if not all) of TWO's compositions. You'd swear it is Hopper on bass at the start of Millenium Jumble, because it's a stealing hot Machinist-like number where Elton shines like one thousand sun (Delplancq ans Estievenaert leave him all the space to roam around).

However Dean's Baker's Treat is a bit of the odd piece out of the set, since it plays a fairly trad jazz game, and sticks out a bit from the rest of the set. Indeed with Delville's Unbelievable truth (the title track) we return to fuzz territory worthy of the Machine, and even more. Indeed the track reaches an enthralling intensity, especially during Delville's lava-melting guitar solo (he's the band's main songwriter). Surprisingly enough Cannery Catastrophe is a sung piece, though the vocal parts are so few that it might as well have been an instrumental. But the piece also develops in a wild full- blast blow-out. Elton's old Basho Variations might just be the evening's more dissonant piece, but it's definitely a gentle side, with some slight bop influences.

This album was the last one Elton Dean recorded and in some ways, it's the perfect testimony of his JR/F side, albeit incomplete, since The Unbelievable Truth doesn't show his more experimental or extreme facet, but I'm ever so grateful that destiny made that his last album he participated is a great one. Thank you Elton'. And RIP.

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 After The Exhibition by WRONG OBJECT, THE album cover Studio Album, 2013
4.04 | 65 ratings

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After The Exhibition
The Wrong Object Jazz Rock/Fusion

Review by Ivan_Melgar_M
Special Collaborator Symphonic Prog Specialist

5 stars Brilliant

If you had asked me a year ago about Jazz Rock Fusion, would had answered that I liked a few artists like JEAN-LUC PONTY, BRAND X and RETURN TO FOREVER, but that my passion was in Prog Rock and not in this complex and messy genre??Since then, my good friend Leonardo Pavkovic from Moonjune Records, started to send me some albums each one or two months. At the beginning I didn't cared too much, but after listening bands like TOHPATI ETHNOMISSION, SIMAK DIALOG, SLIVOVITZ and others, I started to wait for the next set of records and having cravings when I didn't received them?Damn Leonardo, I got addicted and now I don't only spend my hard earned money in Prog CD's but find myself searching for music from all this great bands in the jazz section of the stores and catalogues.

Well back to the issue, I just received a new set of CD's (Thanks Leonardo) and really enjoyed them, but THE WRONG OBJECT was something really special, their latest release After the Exhibition is a different kind of beast, and I called it beast because the music has it's own life, it's fierce, loud and aggressive, threatening the listener with a risky and elaborate fusion of sounds, styles, moods and genres, that go from UNIVERSE ZERO (Thanks to virtuoso keyboardist Antoine Guenet) to FRANK ZAPPA with a touch of KING CRIMSON, Canterbury Scene and Classical references.

The music is not subtle at all, the guys from THE WRONG OBJECT don't hide anything, the transition from one style to another is radical and without any warning, there's nowhere to hide or time to breathe, they keep bombing us with a tempest of sounds and melodies that maintain the listener at the edge of the seat and which I enjoyed from start to end.

I usually write something about my favourite tracks, but in this case it's hard to find a song that overshadows the rest of the album, being that each and every musical piece are outstanding, but the ones that impressed me more are the breathtaking Dexto Gruel with constant changes and bombastic arrangements.

Of course the contrast between the soft, clean piano and Michel Delville's frenetic guitar, all blended with some sort of Middle East influence in Spanish Fly also captured me. But that's not all, the Jungle Cow trilogy is also brilliant, with special emphasis in the trippy part two, where the dense atmospheres are simply delightful.

Now, if I had to choose one song alone, I would go with the marvelous Glass Cubes that has everything I love, starting with the beautiful melodies, the elaborate arrangements, solid vocals and accurate rhythm section in the hands of Pierre Mottet and that human metronome named Laurent Delchambre in the percussion.

But I won't keep choosing songs , because there's not a single weak moment in the album and every track has something to be mentioned (for example the important role of Marti Melia in the sax), but doing it would take me hours and several pages.

So will end this review rating After the Exhibition with 5 solid stars, being that anything less would be unfair for such a marvelous work.

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 Stories From The Shed by WRONG OBJECT, THE album cover Studio Album, 2008
3.60 | 10 ratings

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Stories From The Shed
The Wrong Object Jazz Rock/Fusion

Review by justaguy

3 stars Stories From The Shed is the first studio album of the Belgian The Wrong Object. The band started in 2002, playing Zappa covers. They issued 2 live CD's: one with Elton Dean (ex Soft Machine, alt sax) and one with Annie Whitehead (ex Penguin Cafe Orchestra, trombone). That being said, one can already guess what kind of music we've got here.

5 years after the start they found the time is ripe to play their own music. None too soon. The sound is rich, the compositions are strong and sometimes even dramatic; the whole record is consistent, well arranged and doesn't have any weak parts. This, while the album is recorded live in studio, without overdubs. Or so it is said on the back cover. I must say however, there is not very much Zappa left here. Well, I have no problem with that. The music is still reasonable avant-garde, but leans more on the European examples of Henry Cow en Soft Machine, sometimes King Crimson from the Red period as well. This is the style that Chris Cutler of Henry Cow named RIO. Rock In Opposition. In that kind of rock, one will find lots of experimental jazz and quite a little rock. You will also hear in their music some influences of Brand X and the late Gong. May be it looks the most like one of the latest sprouts of the Gong family ? Gongzilla. So, this is the recipe: take Gongzilla, lessen the guitar, add sax en trumpet and you'll get The Wrong Object. An alternative: take the late Soft Machine, limit the improvisations to a justified level and make the bass-guitar a little more prominent. You've got the picture now I hope.

There is here lots of saxophone and trumpet, both leading and improvising. The electric guitar and electronics are actually more supporting, creating the framework, not dominating. However, at the end of the record, on The Unbeleivable Truth (inspired by the film by Hal Hartley of the same name?) the guitar is set loose, fantastic solo, may be a little too long. The drums playing is strong, but missing a necessary innovation, if you'd want to compare it with the work of Chris Cutler (Henry Cow) or Robert Wyatt (Soft Machine).

I hope that the reader excuses me, but I can not resist the urge to philosophize a little. There really exists such a thing as a "music-geographical spread". Let me give you just a few "music-politically" irresponsible prejudices: The best prog comes the last 10 years from Sweden. The best gothic comes as always from the Netherlands. The best jazz comes from America. The best RIO comes from Belgium. Think of Univers Zero, Humble Grumble, etc. Well, of course, this kind of non-commercial music is not really frequently made. Therefore a few individuals that play a loose and fun kind of jazz-rock can actually influence this musical geography. Another thing that influences it is the local politics. Think of free music lessons for the children in Sweden. Each second Swede plays in a (prog) rock band nowadays. Add a traditional penchant towards an alternative music (well, forget ABBA for a moment), and hence the result: lots of progressive rock in Sweden. The Wrong Object is also financially supported. There is a statement on the back cover: "This release was made possible by the support of the Communauté Française de Belgique". Further on, the record is released by the Moonjune records, a label that supports alternative music (often Soft Machine related). Moonjune is actually a good alternative to the Recommended Records of Chris Cutler, which also is a unique concept of a record company for alternative music, started by the founding father of RIO himself.

Let's say, you are on the right path, guys. Thank you very much, I enjoyed it, and hope for more!

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 Stories From The Shed by WRONG OBJECT, THE album cover Studio Album, 2008
3.60 | 10 ratings

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Stories From The Shed
The Wrong Object Jazz Rock/Fusion

Review by toroddfuglesteg

3 stars The Soft Machine's heirs ?

I had the pleasure of reviewing the Elton Dean & The Wrong Object's collaboration album some weeks ago and I pointed out how similar The Soft Machine and The Wrong Object is in style back then. Elton Dean sadly passed away and The Wrong Object is on their own on this album. But still, the Soft Machine influences are there.....

This album is a Jazz/Fusion album. I would also add Canterbury Scene to the description of both the sound and the music here. This album is by no means smooth jazz or jazz as most knows it. This is jazz straight up your face. It is like being roared at by a wild boar from the distance of two inches. The music is very, very intense at times. That goes for both the woodwinds solos and the guitars solos. But the band also knows how to slow the music down at times to give the listener time to both relax and reflect.

My main gripe is the lack of any really great melodies and hooks on this album. The album is superb on technical details, but not that good on melodies and hooks. But technically, this album is very impressive and that is all there is to it. That and the raw intensity.

This is a very good album, but the band can do better and will do better next time around.

3.5 stars

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