MONKEY3

Head to the cosmos aboard the Monkey3 spaceship . The Swiss musicians take us on a 100% instrumental journey to the borders of Stoner, Psychedelic Rock and Prog: 'Welcome To The Machine'. From the title, we understand that it is very likely that Monkey3 will follow some paths traced in their time by Pink Floyd. The group also admitted to having been inspired by science fiction cinematographic works such as "2001: A Space Odyssey", "Matrix" or "1984", and more generally by Human-Machine relations to develop this disk. The start takes place via the first track "Ignition" on which, after a long introduction allowing time to take your place on board, a grandiose whirlwind of cosmic guitars unfolds evolving on a carpet of rhythms whirring like space engines. The production is absolutely spectacular throughout the album, allowing us to appreciate in particular the "fuzzed" or "wah- wah" sounds of the guitars, as on "Kali Yuga". The atmospheres and tempos vary from one title to another or within the same title, but the result always remains grandiose, as on "Rackman" where a mechanical, almost robotic beat seems to evoke the power of machines. It is on "Collapse" that the nod to David Gilmour 's team is most marked, the title gaining in intensity over almost 13 minutes before reaching the final collapse. The experience ends after 5 tracks and 46 minutes, leaving the listener stunned but certainly eager to return.

Review originally posted on www.progcritique.com.

The Swiss band's first studio album since 2019 shows them stretching out a bit as well as paying homage to Pink Floyd.

1. "Ignition" (10:38) prolonged space synth work to open before radio voices are heard (as if from a spaceship). at 1:29 an explosion of guitars sets off a chain reaction that leads to a hard-driving motif of heavy prog. The motif develops at the end of the third minute into a vehicle for a pretty wild electric guitar solo--which lasts about a minute before giving way to another spacious patch of lone synth and then rolling bass ' la PF Animals. Drums, spacey echo-guitar strums, and Richard Wright-like synth make intermittent contributions, somewhat filling the very atmospheric soundscape over the rolling bass guitar. (17.75/20)

2. "Collision" (6:03) percussion drums and rolling "Stranglehold" bass fills the opening minute of this while synth washes and random echoed noises flit in and out. At the 1:30 mark the lead guitar begins a rather sedate solo but then backs off for the whole band to congeal around a gentle space-synth motif before returning to the "Stranglehold" motif and some lead guitar soloing. At 2:55 everything ramps up into a metal version of the opening motif--that's when Boris really begins to rage around his fretboard--all leading up to a cool crescendo finish. A surprisingly simple yet satisfying song. (8.87510)

3. "Kali Yuga" (10:01) great sound and dynamics but it never really ever seems to come together into something with purpose or resolve. (17.75/20)

4. "Rackman" (7:13) a bombastic, slow-moving power chord progression that is actually very satisfying in a kind of Devin Townsend way. In the fourth minute the guitar power chords back off, bass and drums trodding along, so that lead guitarist can solo, but then they all come back to the hard-drivin' motif for the fifth and sixth minutes, but the guitarist then moves back and forth from power chord strumming to soloing for the remainder of the song. I think this is my favorite song on the album! (13.5/15)

5. "Collapse" (12:50) an obvious nod to PINK FLOYD--at times getting a little too close with some of its sound and instrument imitations--but, ultimately, this is a very satisfying song--one that gets better (and further away from the PF imitations) as it goes on. (22.5/25)

Total Time 46:45

B+/4.5 stars; a near-masterpiece of heavy atmospheric space/psychedelic prog.

MONKEY3 has navigated the seven seas of psych and back since its formation in Lausanne, Switzerland as far back as 2001 and has continued to ramp up its space odyssey ever since with a series of albums that incrementally progress the band into farther reaches of the known universe and going where no band has ever gone before. This all instrumental project that began as nothing more as a jam band has seen three of its members: Walter (drums), Jalil (bass) and Boris (guitar) stick with the band all the way from the start with dB (keys and sounds) joining in 2004 for the EP "Monkey III" and two years before the band's first full-length debut "39 Laps" (unless you count the supposedly live self-titled album which came before).

Given that much time in the studio together, musical visions either separate you over time or allow you to coalesce into an even tighter musical beast. MONKEY3 chose the latter and over the course of the last several albums has focused less on the heavy psych jamming elements and embodied a more dynamic and dramatic palette of progressive rock diversity. It's been five years since 2019's "Sphere" and the simian psych rockers are back with their latest slab of proggy space rock in the form of WELCOME TO THE MACHINE, a clear salute to the enigmatic Pink Floyd who the band certainly pays a few tributes to in the course of this album of five tracks that generate a playing time of almost 47 minutes with the ultimate tribute exploding into full tribute mode on the closing "Collapse."

Imbued with all the proper anti-gravitational atmospheric lift offs, WELCOME TO THE MACHINE doesn't just allow your escape into the ethereal but also features hefty stoner rock workouts with stellar guitar, bass and drum bravado that perfectly navigate the pacifying ambience with grace. The band beautifully meanderings through space rock with beautiful contrapuntal elements including echoey reverb, soaring atmospheric backdrops, lallygagging percussive drive and then contrasts it all with intermittent bursts of heavy stoner rock that allow the guitar, bass and drum to go ape[&*!#] (or is that monkey[&*!#]?). The bluesy melodic constructs hearken to the 70s era of psychedelic space rock and of course moments of Pink Floyd influenced nods are scattered throughout, however when it comes right down to it, MONKEY3 has found its own unique little niche which doesn't really evoke any band, psychedelic, stoner rock or otherwise.

A very melodic album that contrasts with both pacifying and abrasive tones and timbres. The guitar tones in particular are heavily distorted more like a grunge band of the 90s but the soaring lead guitar solos which are set somewhat low in the mix evoke the mighty Pink Floyd at their peak such as any track on the "Animals" classic album. While every track is distinct perhaps the most satisfying on the entire is the beautiful "Kali Yuga" which in musical notes narrates the Hindu galactic calendar period that we are exiting as we transition into the Satya yuga, a time when the wicked nature of humankind will be followed by a golden age. This particular track is the band at its best with beautiful guitar tones oscillating from arpeggios and a multi-layered contrapuntal approach that balances dynamics as perfectly as a skilled yogi. The track demonstrates the patience one must have to navigate larger systems through its nonchalant incremental procession which is about as satisfying for progressive space rock it gets.

While "Rackman" turns up the volume once again with a heavy stoner rock bombast, "Collapse" borrows a trick or two from classic Pink Floyd albums and offers the ultimate tribute to the band with a medley of various guitar riffs, drum rolls and melodies including the classic WELCOME TO THE MACHINE namesake. Overall this sixth album from these Swiss space rockers is extremely intelligently designed with five distinct tracks that evoke their own series of moods and spacey vibes with the ultimate closing tribute to the greatest space rockers of all in a beautifully composed mix of some of the most memorable moments of Pink Floyd. Showing no sign of burning out MONKEY3 sounds like it's only getting started with a nice mix of stoner rock verging on metal with Ozric Tentacle styled synthesized trippiness. A beautiful album and one of the best progressive space rock bands of the modern era.

MONKEY3 is the psychedelic rock band you have to have at home.

"Ignition" begins on the soundtrack of 'Prometheus', latent, spatial, far from our good old earth, or what remains of it; some 90 seconds later, the deluge, a musical fire, notes that fill the space or what remains of it; the sound has progressed since their last album, the change of members? The break which stops the diffusion of incandescent lava, the bass with a hint of PINK FLOYD, between memory and evolution, the keyboard driving the point home on 'Animals'; the air starts again, rises again and it is the psyche synth ambiance of dB which dominates before launching Boris into a stratospheric solo; breathtaking finale for a remake of 2001 today. "Collision" continues, pleasure of having sound always in the ears; Jalil is already at ease, as is Walter, to keep the fire going; collision like the Matrix and its confusion, in what world are we really, where are we elsewhere without realizing it...a gripping dark electro title that you have to remember to take the right pill for. "Kali Yuga" follows, water that we hear, Sunshine and fire that flows, Danny BOYLE's delirium set to music, a reverberating sound, an orgasmic, frenzied journey to save humanity; a long guitar solo to captivate the listener and leave him speechless in front of this riot of notes; the tune is intended to be hypnotizing and takes us to a dreamlike crescendo; a little water, air, oxygen and...

"Rackman" taking up the notions of Solaris and the question of guilt, redemption; its again electro-dark wave stoner, invasive; it's Boris at the helm who sends far away, who dynamites the air to put you in a trance, in a syncopated position, in excitement; a stoner thrash riff for headbanging no less; final with a drum explosion before launching "Collapse" yes if you don't think of them, it's because you are very young or innocent; cover, remix, recreation? The title that sets you in awe, a revisited 1984, from the Floydian masters, a delirious sound in the good sense of the word with a passionate guitar solo, a maximum stoner mid-term break surfing on pink psychedelic clouds and a groove hypnotic; frenzied finale that doesn't come back to earth, too bad for you. The title which gives all the psychedelic power of this extraordinary group.

MONKEY3 psychedelic stoner rock, that's it; an album exploring the future of Man, his destiny, his madness through five cult films. (perfect in genre).

4.5 stars. I'm such a big fan of heavy instrumental music so it's no surprise I've been reaching for MONKEY3's latest "Sphere" a lot over the past few weeks. They remind me a lot of Germany's LONG DISTANCE CALLING, that heavy Post- Rock style with MONKEY3 bringing more of that Psychedelia to the table. Mostly because of the David Gilmour-like guitar. A lot of soaring leads but man can this guy let it rip, just a light show at times. But you also hear that FLOYD sound before 5 minutes on the opener with just the bass and atmosphere. Check it out after 8 minutes I mean that's Gilmour right?

Love the layers of sound on this album, the depth coming from the four members with bass, keyboards, drums and guitar. Back to that opener "Spirals" it's such a heavy trip. That native-like drumming before 7 minutes is awesome. Probably the track with the most PINK FLOYD nods and a top three out of the six here. I really like how each track starts slowly with experimental or spacey bits.

The next track "Axis" is also a top three and it's so inventive to begin with as it slowly builds. Heavy and spacey. The guitar starts to solo after 3 minutes and later is crying out. Check out the heavy riffs and mellotron-like sounds just before 6 minutes. Oh my! This! What a way to end it. "Prism" opens with sounds that echo before guitar expressions and keys roll in. Mellow. It kicks in with power at 2 minutes to an almost Doom-like sound. Slow too then it moves some before really picking up speed 4 minutes in as the guitar rips it up and the drums get busy. Intense as sounds howl. Back to the slower heavier stuff after 6 minutes and the guitar will be crying out over and over.

"Mass" is so interesting to start with those urgent pulses with slowly played piano over top. Heaviness with mellotron-like sounds take over before a minute the down-tuned guitar really brings MARS RED SKY to mind. Check out that rhythm section after 1 1/2 minutes. Kicking it now! Powerful stuff. "Ida" is the shortest at 4 1/2 minutes and it opens with spacey winds before bass joins in along with some atmosphere and guitar. It turns heavier before 2 minutes. Love that guitar solo starting before 3 minutes. I really like this one but...

My favourite and one of the best tracks of 2019 is "Ellipsis" a 14 plus minute Post-Rock/Psychedelic trip. Sounds echo and buzz as heavy beats drive it. Spacey sounds come in over top. It's after 5 minutes I'm jumping around as they amp it up a notch. Guitar is awesome! It settles right down before 7 minutes as the guitar steps aside. A slow build from here. Love that sound 8 1/2 minutes in then bang at 10 1/2 minutes they are crushing it. Vocals after 11 minutes. Does it get any better than this 12 minutes in as the guitar cuts in. A calm after 12 1/2 minutes to the end. Whew!

Man I've had this turned up very loud, especially that closer which is incredible. Gotta go 5 stars and now decide where I'm going to put it, Psychedelic or Post-Rock?

Superb Modern Instrumental Psych - Floyd does Heavy Post-Rock

Monkey3 is a band I found though PA lists by other contributors. While all of their catalog is strong, I would argue that Sphere is their master work. I have introduced this album to a number of friends and have typically described it as Pink Floyd and Russian Circles combined. (Russian Circles live that is, a phenomenal experience highly recommended for all prog fans). Keys play a prominent place, unlike most post-rock. There are plenty of heavy guitars but always they serve a central vision of atmosphere, mood, and transporting the listener to a specific mental space.

There are clear allusions in tonality to 70's space rock in the keyboards and delay guitars, but the patience and slow builds do allude to post-rock songwriting. There is a fair share of guitar soloing which starts firmly in Gilmore territory but adds some flashes of slightly shred-y elements that add to intensity and do not seem showy. The rhythmic intensity is also modern, more intense than classic era psych.

While most listeners will be familiar with the elements here, this is by far the best modern interpretation of those sounds I've heard in a long time. While there are many Floyd imitators out there, this band has used their elements and added enough modern ideas to create their own sound. Most importantly, the work connects and communicates, serving the purpose I seek most - creating a blissful evening with good headphones where one can immerse themself in a music that will take them to a unique headspace.

1. Spirals.. the killer intro; it's simple, it's predictable, but it's good; the rise with the planets, yes you have to watch the clip at the same time, 3 minutes and the obvious explosion, the orgasmic high, my andropause is starting to make itself felt??? in short giant, nothing else to write; 6 minutes and the Floydian break from their psychedelic period, we soar, we fly, we have fun in the stratosphere; a little more and we would come across the long rides of the TANGERINE DREAM, but this is not a caravan in a serene desert, it is indeed a roaring overlap between the lion and the sagittarius, it moves, it howls, it fights with notes; the finale leaves... returns to this stoner space with old keyboards and guitar that swells for a musical madness indescribable on paper! 2. Axis...sorrow yes I can't help but write it; it's organized between the titanic drums and the overloop guitar, the thing that makes you turn 180° at once; Mister Malpropre behind his keyboards throws fat, heavy, psychedelic and crazy notes at you; Boris calmly in front holds on to his guitar and distills... without moderation notes coming from.... Proxima yes it sounds redundant but what can I do? The clip on fractal images, on overlapping galaxies, on the connections of our listening cerebellum... who said it was calm, almost drowsy? A deluge of sounds to bring one to musical ecstasy and send oneself... beyond the galaxies; this divine final chorus finishes off the proguous 3. Prism ... not syncopated images, just those of a desert fest, a grand canyon, a plain, a landscape, nature; 2 minutes and bam the door to Olympus opens, the music is grandiose, majestic; we delight in falling from the clouds, ah I thought it was Olympus, in short we fall into a musical maelstrom, into a black hole merging stoner and hard from the 70s-80s here; a semblance of a growl voice surely coming from a touch of synth, ensures the train, the visual cinematic is of course on the storms, the unleashing of the climate; a title which does not leave one indifferent, which balances the emotion with a musical wall, with invasive sounds leaving no room for daydreams; here your imagination is controlled by monkey3

4. Mass with the reverberation of the first moments of Life; yes it vibrates, it tickles to the deepest of oneself; ah the heavy stoner riff which cavalcades, which swells, which swells, which... The clip takes us to the sea, under the rolls of foam, the water invades just like this frenetic solo from Boris which floods our space, which carries us away far away and brings us back at the same time... what a glass tube created musically? What a renewed space of time allowing MONKEY3 to make us leave without leaving home? Yes, their music is all that, dreamlike more than psychedelic, intimate more than expectant, borderline more than schizoid; pure beauty 5. Ida on images of flowers opening to the light of day, a slow, gently stoner ballad, that is to say an over-vitaminized post-rock version, that makes for umlauts in this column; the guitar solo warmer than on one of ANATHEMA, but just as spleen as you die; it goes up, it swells, that's it we're off again and there in just 4 minutes flat; a little disappointed with this drum roll announcing the chained end of 6. Ellipsis which returns to schizofrenetic fractals; drums and synth in direct ORESOUND SPACE COLLECTIVE style, just to make you understand that you are going to suffer; a little MONSTER MAGNET from the interludes on top, a little HAWKWIND at the back, a dose of OZRIC TENTACLES on the side and off we go; an air that seems to stagnate, to freeze, ah no it changes a little with Walter who smashes his pads; Mister almost clean floods the space with keyboard notes while Boris strikes another chord, wow, that's a repeat; in short there is only Jalil as a newcomer who puts the rhythm back in its place; break or spatial interlude, cinematic before its time, the light machine gun riff arrives, puts you on alert; yes this somewhat redundant length prepares the ground there halfway through; the riff has swelled putting the air on valve, you realize that you are moving all over the place; 11 minutes and then you can no longer control anything, the wall of sound becomes intrusive to the point that you start to cover your ears... no, it explodes like a balloon, it reverberates in a touching way, it buzzes a little, it's turned off, you are lost in the galactic immensity.

1. Xub for the adrenaline rush, slow, insidious, which sticks; for the titanic drums, for the flute, sissi, well not Romy, for the voice yes there is one; the power of the chorus.... well we're on the stoner instrumental, so the chorus is when it explodes a little more!! In short, an intense organoleptic rise made to vibrate... and not to bother like in many current groups. 2. Last Moulinao acoustic guitar and tambourine intro, then the general prog blood gets going; slowly we arrive at the break where the guitar is a bit flamenco, pleasant with the wind behind; it rises calmly to burst into an aerial, spatial finale, where the noise no longer passes 3. Driver for the title, definitely not to listen to in the car!!!! under penalty of causing a crash by pressing the accelerator pedal, a loud, immense title, in the distance a growl that we can guess, power in its pure state, the desire to dive like James DEAN did. done in his time; a title, yes the title of the side which deposits, moves; the syncopated break, the bass that sends you waves from up there, the keyboard that twirls, very fat to stick you in; astonishing, metronomic and hypnotic, no room for concession, for gentleness, here we are not here to sleep, to rest; we move with this wild finale

4. Jack for a softer, more velvety air with these drummer pads, for this intoxicating air as if coming from the time of 1001 nights; hypnotic again, psychedelic, cataclysmic and dreamlike, quite simply; MONKEY3's music cannot be written, it is dreamed, it invades you; break with a surge of airy synth notes, on the purple marshmallow, yes it's magical, and the guitar which spleens, which oozes; be careful the finale is even stronger but brings an outro return which will put you back on earth, to avoid the crash 5. Je Et Bikkje... perfect, it goes up, there are more synths, it's more psychedelic after the deluges of the other titles, it's long but at least it's reassuring, we know we'll have something to enjoy his money; prog blood flows in this track; what a riff from BLACK SABBATH yes I assume, I love it; long but diversified with these vintage sounds à la 'Flash Gordon', sounds of ... flashes and other lightning during the final attack, in short dreamlike, captivating, psychedelic... fortunately I hadn't taken a dram of my favorite whiskey... I won't be back 6. Once Upon a Time in the West for the cover, but what a cover, not just any cover; a reprise that lets itself be desired, this arpeggio invaded by wind, these chiseled notes; the wait, the desert of the steppes with this interminable wait, ah I think I see the end of Clint's cigar in the distance; Oh no, I hadn't noticed with the dust, it's Charles' harmonica that I hear... 3'45'' and the Dantesque explosion of the drums, pompous no, vibrant yes, charismatic yes, eidolic yes, phantasmatic too; this rise, this sonic power.... this prog blood which flows, which crosses your mind; we cannot remain indifferent in front of so much beauty, we can only move in front of this wall of sound, ah this guitar solo which comes to finish you, raise its notes and make you languish, drool, your eyes roll back, you are on the verge of apoplexy, you swoon, you capsize, you cum, you ah but we calm down; finally the cymbal and the bell which brings you back to the starting point with this wind, this wind; If I say sublime, I'll write it down.

Well-paced and highly engaging space/Krautrock from Lausanne (Switzerland). Though these guys have been releasing albums since 2001, this is my first encounter with them.

1. "Spirals" (11:19) four sections: the tension-filled opening three minutes which slowly, almost imperceptibly, builds until the 3:15 mark (Section 2) when a crash of bass, drums, and guitar chords unleash a hard-driving section within which Hammond and, later, guitar show some fine lead chops (though the bass work here is equally attention-grabbing), Section 3 that begins at 5:30 with some PINK FLOYD-like echoed bass solo work with intermittent flashes of aggressive guitar strums, and, at 7:45, when the final harder-driving section with its excellent PINK FLOYD-like slide guitar solo work but finishes with the flare of a WHO or PORCUPINE TREE song. Cool! One of my top three songs from the album. (18/20)

2. "Axis" (6:37) echoed electric guitar plays single note on its bass string in a PF "Run Like Hell" kind of way before echo and delayed electric guitar begins adding notes here and there. Toward the end of the first minute bluesy bass, drums and keys join in. Very space-bluesy for a few minutes until 3:50 when the two-tracked lead guitar leaps to the fore in a Hendrix-kind of way while the background sounds more like Polish heavy proggers RETROSPECTIVE. Awesome shift! Mellotron voices join in just before shift into a more melodic guitar riff enters and tries to hook us in. Return to the heavier, 'tron layered section at the six minute mark to the end. Pretty great song. Definite top three for me. (9.25/10)

3. "Prism" (9:10) two minutes of truly stark space sounds precedes the heavy sludge of slow metal music that erupts and sustains over the next two minutes. At the end of the fourth minute the motif and pacing switches, establishing a much more fast-driving groove by the end of the fifth minute within which the Hammond adds its particular embellishments before a lead electric guitar begins to establish its presence in the sixth minute. At 6:10 a slow decaying metal chord establishes an entirely new motif--one that is graced with the hair-raising DAVID GILMOUR-like guitar solo in the eighth and ninth minutes. (17.5/20)

4. "Mass" (6:30) opens like a FIELDS OF NEPHILIM song with some 1980s sounds oscillating around the soundscape. Even at 0:45 when the heavy grunge metal chords and group play enter and dominate and into the next motif with its heavily distorted PA voice and vocal Mellotron at the end of the second minute am I reminded of FIELDS OF NEPHILIM. 'tron dominates the melody line in the third minute. Flashy 1970s electric guitar solo in the fourth becomes flashier 1980s EDDIE VAN HALEN-like guitar solo by the end of said minute. Powerful and cool but nothing too original. (8.4/10)

5. "Ida" (4:22) opens with wind synth noises over which bass plays a riff in its upper registers. Joined by slow guitar strums and more spacey synth notes/washes before Indian percussion joins in at the one minute mark. At 1:45 heavily fuzzed electric guitar, synth chords, and full drum kit join in to lay down a heavier texture. Guitars begin soloing over the top, one up high more aggressively, and another behind, more controlled support. (9/10)

6. "Ellipsis" (14:13) opens with layers of spacey synth noises, blurts, and arpeggi as "Stranglehold"-like bass and drum lines set the pace. Volume pedal controlled guitars, two, move opposite one another in fast pans behind the sound scape. At 5:18 the bomb drops and we enter into a very deep and dirty section thanks to a great Piotr Grudzinski (RIVERSIDE)-like low-end electric guitar riff. Even when this riff exits its powerful echoes are felt, sustained, in the low-end work of the bass and other electric guitar strums. The "Stranglehold" feel is still there, but it's dirtier, nastier, more in an in-your-face "this is what you get!" way. Amazing! The only thing missing is a great Ian Kenny or Mariuz Duda vocal! Amazing how much is inferred, how much potential energy is visible, barely contained, waiting to burst into full onslaught! Incredible subtle build to crescendo. I'm in tears with the emotion from this! Definitely my favorite song on the album--and one of the best prog epics of the year! (29.5/30)

Total Time: 55:11

A/five stars; a rare masterpiece of progressive rock music coming from the overly pretentious Space/Psych subgenre. Definitely one of the best heavy space/psych albums I've heard in a long time!

I suppose that "psychedelic/space" is the most appropriate subgenre in which to classify Sphere, but at times it could just as fairly be called progressive metal. However you slice it, I really like this new album by the Swiss quartet Monkey3.

I'm pretty new to contemporary space rock; the only 2019 releases classified as such on progarchives that I've listened to closely are Entropía by Invernadero (Chile) and |||| by Liquido di Morte (Italy). (Other spacey albums I've enjoyed from 2019 include Transmission by US "Krautrock" group Darsombra and Drone Activity by Ulver, the Norwegian foursome listed under "post-rock.") On one hand, these albums are miles away from Pink Floyd and Hawkwind, the UK-based space-rock pioneers who emerged in the late 1960s. But on the other, I find it fascinating that aspects of the relatively obscure Ozric Tentacles,* also from the UK, but founded in the 1980s, are still discernible in modern space-rock albums. On Sphere, the Ozric influence is clearest via rhythm, specifically the cadences and the use of the rhythm section.

Like much of ||||, several of the songs on Sphere shift substantially over their durations. "Spirals," for example, is an energetic tune that moves from space-rock to nearly anthemic hard rock. If I knew more about contemporary video games, I might say that the second part of this song might work in that genre also. Similarly, "Prism" begins as sludgy atmosphere before eventually evolving into straightforward metal, à la Trans-Siberian Orchestra or Dream Theater, then slows down as a soaring guitar solo, reminiscent at times of David Gilmour, pervades. And most of "Ida" could be a backing track for a neo-prog act like IQ - - until its last minute, which is pure symphonic metal.

The strongest songs here are the opener, "Spiral," and the album-closing pair, the concise "Ida" and the Ozric-invoking "Ellipsis," the latter of which is killer stoner metal, dude.

The middle of the album isn't quite up to the level of the beginning or end, though it's not bad at all. "Axis" is a bit slower and less imaginative than "Spirals," and it sets the stage for the next two songs: the slow-moving "Prism," and "Mass" (apparently featuring Asia guitarist Bumblefoot), a bit of a slog which hardly portends the closing nineteen minutes.

Coincidentally, I consider each of the four 2019 albums I mentioned earlier (from Invernadero, Liquido di Morte, Darsombra, and Ulver) worthy of three stars. Sphere isn't wildly better, but it's clearly deserving of four stars. I'm interested to hear more from Monkey3.

====

*Full disclosure: I'm not an expert of all things Hawkwind, Floyd, or Ozric; my claims are based on those group's best-known works, or, in the case of Pink Floyd, their output during their psychedelic/space phase.