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OVERHEAD

Crossover Prog • Finland


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Overhead biography
Inspired by classic prog giants like PINK FLOYD, GENESIS and KING CRIMSON, Finnish band OVERHEAD formed in the late nineties to record, and eventually release their first full version album "Zumanthum". Their music is refined and elegant with well-built melodies, clear and powerful vocals quiet and contrasted parts, sophisticated arrangements and great instrumental parts.

"Zumanthum" consists of 5 songs, including a 20 minute epic, and fits in the Neo Prog style, but with the perfect dynamics of keyboards and guitars, a symphonic sound is achieved. A new band capable of doing great things in the future.

"Metaepitome" (2005) is composed by six long and complex pieces, two of them being suites about 15 and 20 minutes long. The music still includes a few influences from PINK FLOYD, RUSH, MARILLION, DREAM THEATER or KING CRIMSON.

However, OVERHEAD's Progressive rock becomes really innovative and personal, when it's mixed with some strange psychedelic and electronic sequences. The tracks are performed with a power not unlike heavy-metal. The ingredients: Seventies keyboards sounds, lively bass parts, elegant vocals, nice flute soli, excellent guitar playing. (Musea)

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Silent WitnessSilent Witness
Import
Naive 2002
Audio CD$27.13
$2.46 (used)
Of Sun & MoonOf Sun & Moon
CD Baby 2012
Audio CD$7.99
$82.25 (used)
MetaepitomeMetaepitome
Musea 2005
Audio CD$29.95 (used)
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OVERHEAD shows & tickets


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OVERHEAD discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

OVERHEAD top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.72 | 48 ratings
Zumanthum
2002
3.86 | 91 ratings
Metaepitome
2005
3.10 | 46 ratings
And We're Not Here After All
2008
3.89 | 64 ratings
Of Sun and Moon
2012

OVERHEAD Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.67 | 6 ratings
Live After All
2009

OVERHEAD Videos (DVD, Blu-ray, VHS etc)

4.17 | 10 ratings
Live After All
2009
4.50 | 2 ratings
Bootleg DVD
2010

OVERHEAD Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

OVERHEAD Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

OVERHEAD Reviews


Showing last 10 reviews only
 Of Sun and Moon by OVERHEAD album cover Studio Album, 2012
3.89 | 64 ratings

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Of Sun and Moon
Overhead Crossover Prog

Review by Conor Fynes
Prog Reviewer

4 stars 'Of Sun and Moon' - Overhead (8/10)

To those who attest progressive rock is dead, I would suggest they simply aren't looking hard enough. To be sure, the 'vintage' approach to prog has long lost its contemporary relevance, and it's become fairly clear that many of those bands have missed the point of what the artistic movement was all about. At the same time however, there are bands out there that have been doing their darnedest to expand the scope of current-day rock music. Bands like Porcupine Tree, Radiohead, and- to a lesser-known degree- The Pineapple Thief, The Tea Club, and Finland's Overhead have successfully revived the spirit of progressive rock music. While some of these- namely Muse- have received recognition that even dwarfs the popular success of bands amidst the progressive scene's early 70s zenith, many of the modern, or 'post-prog' scene's brightest stars have garnered limited attention outside of the style's fans. Overhead are one such act, and one I may never have had the pleasure to hear, had the band themselves not introduced their music to me. Their fourth album and latest venture, 'Of Sun and Moon', consolidates their proggy-yet-accessible style, offering up something that should appeal to prog rock aficionados and newcomers alike. In a word, it's modern progressive rock done right.

Not unlike Muse, Overhead find a powerful blend of styles between alternative rock, prog, and electronica. Also in the vein of Muse, there is a notable focus on traditionally effective songwriting conventions. Although Overhead dares to experiment with 6-8 minute songs towards the end of the album, it's a rare occurrence for Overhead to long ignore a hook, chorus or recurring motif. 'Berlin' and 'Aftermath' each sport anthemic choruses that would rock the airwaves if given the proper chance. Catchy rock rhythms are often paired up with electronic instrumentation to give the band's more energetic moments a nearly danceable element to them. It's commonplace throughout the album to hear frontman Alex Keskitalo's vocal melodies leading the rest of the band. On paper (or screen?) alone, this may appear a more apt description of a pop record than a rock album, much less one of the progressive variety. In fact, it's this use of accessible elements that makes Overhead feel modern in the first place.

I may be misquoting Steven Wilson on this, but the Porcupine Tree frontman once stated (around the time of 'Lightbulb Sun', I believe) that it wasn't the songwriting per se, but the way the songs were executed that made Porcupine Tree a progressive group. The same principle applies to Overhead as well. In spite of the catchy songwriting, Overhead fuel their performance with plenty of sounds plucked straight from prog rock canon. Underneath 'Berlin's driving chorus, there is a thick, spacey keyboard arrangement that makes it sound like they could be rocking out on the moon. 'An Afternoon of Sun and Moon' pairs up memorable melodies with a weird syncopated rhythm and eerie synthesizer atmosphere. 'Grotte' represents Overhead's most proggy elements rolled into a short instrumental; psychedelic guitars, flute solos and musical madness prevail for a few minutes before returning to a relative normalcy. The production and standard of musicianship are as good as you're bound to find, even compared to some of the most successful rock acts out there. Keskitalo's voice can sound a little gruff at times for the band's hook-centric melodies, but he's got a great, distinct tone to his vocals, particularly during the melancholic 'Last Broadcast'. There's some greatness to be heard in the way Overhead present these tracks, and by the end of the album, there's no doubt as to their prog-credibility. I mean, their singer also plays flute, and I'm almost absolutely certain that's had to have happened in progressive rock somewhere.

'Of Sun and Moon' is an ultimately fitting title for this album. There are plenty of things that- at first glance- seem contradictory going into the album. At the end of the day however, Overhead make it work. Darkness and light. Pop and prog. It's a musical direction that's been taken before, and Overhead certainly aren't the first ones to be successful with it. Of course, that shouldn't go any lengths to discredit what the band have accomplished here. To those who may have thought progressive rock was dead, check out Overhead. You might leave the experience with another opinion.

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 Of Sun and Moon by OVERHEAD album cover Studio Album, 2012
3.89 | 64 ratings

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Of Sun and Moon
Overhead Crossover Prog

Review by Gallifrey

5 stars For those who know me through my facebook page, you'll know I am currently listening to basically every album released in 2012 in the hope that my album of the year would be less biased. Overhead's "Of Sun And Moon" was high on my to-listen-to list, so while searching for a link, I actually found the band were offering downloads for reviewers, so I cashed in. This is also why I am writing this review early, rather than waiting until January to post it in the album of the year reviews. But I can tell you know, with about 200 albums listened, this one sits in 9th place.

I give a lot of 4 star reviews and ratings, so I want to make clear that this is a very high-end 4 star. I could easily justify it being 5 stars, but it would take a bit of avoiding the point. There are definite drawbacks, but what we have here is an accessible, catchy modern prog album with quite a few elements of metal. I personally would have this band in the Heavy Prog section, but I don't know their back catalogue, and there are some definite crossover elements.

This album is metal in a good way though. I have never like the progressive metal where 10 minutes is the minimum and it's not a song without 12 guitar solos and 5 keyboard solos. Overhead use the distortion to good effect, countering the rather wonderful vocal melodies. Anyone who knows me knows that for me, melody is king. Nothing else tops it. If you have a great pop melody, but apply it in a progressive way, I will love you. Always. Even in styles I don't like, such as the Dream Theater clones, I still love bands like Haken and Seventh Wonder for their epic melodies. The vocal parts in "An Afternoon of Sun and Moon", "Aftermath" and "Alive" are enough to make me love it, no matter what style it is in.

So why the 4 star rating? I don't know how to particularly say it. I think it's the crossover-ness of it, along with some of the unnecessary heavy parts. The band takes some odd influences and fuses them into some otherwise great songs, which sometimes sounds off.

But, having said that, I will re-write this review when I do albums of the year in January, and I've got a feeling I'll put it up to 5.

Essentially, this album is Crossover Prog Metal. Another band that's taken this 'style' has been the latest Beardfish, but it's hard to define. This is a great album however. It falls short in musicality and complexity, but makes it all back up with those sort of choruses that you want to blast in your car and sing at the top of your lungs.

Definitely worth a listen, as I can't really compare it to any bands, or even list influences, and any band with their own signature style deserves a listen from everyone.

EDIT: 5 stars. How did I ever think this was only 4?

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 Of Sun and Moon by OVERHEAD album cover Studio Album, 2012
3.89 | 64 ratings

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Of Sun and Moon
Overhead Crossover Prog

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

4 stars Overhead is a progressive band from Finland and their fourth and latest studio album is a real treasure full of innovation and masterful musicianship. Each composition has a diverse structure, rather different from the track preceding it, and in this the album exudes a refreshing feeling as the music tends to move from heavy metal riffs to tranquil passages of beauty. The emotional music is helped by the diversity in musical instruments; Alex Keskitalo is an excellent flautist, along with very effective vocals throughout, Jaakko Kettunen adds aggression on heavy guitars, and some wonderful soloing, Tarmo Simonen augments the sound with ambient keyboards, and piano, along with swathes of synthesizers, Janne Pylkk'nen holds things together on bass, with some infectious grooves to hook into, and all is overseen with the accomplished percussion work of Ville Sj'blom.

The album begins with definitive prog metal on 'Lost Inside 2', with some Dream Theater riffs, and an epic chorus. This is soon followed by 'Berlin', that has a melodic guitar phrase and some soaring solo work sprinkled over the top. Almost seamlessly 'An Afternoon of Sun and Moon' takes over and is definitely a break away from the heavy intricate riffing to make way for the sweet sound of keyboards and gentler nuances. It even has a reggae rhythm and some odd vocals that move from clean low tones to a high register. The chorus builds well with electro melodies and retro synths. Next is 'Aftermath' that sounds unique with an electronic pulse and lovely harmonies. The guitar reverb has a spacey vibe, and alternative style vox enhances the feel. The chorus gets heavier as the guitars crash in. The synth really shines on this and is effectively high pitched and smooth in texture, and there is a flute sound combating the more heavier sounds; like Ultravox meets Dream Theater.

The drums are rather erratic on 'Syriana' that purposefully encompasses Oriental nuances. The rhythm is jagged and has a very different style to previous tracks. A spacey middle section reminds me of the glistening chiming keyboards on The Doors' 'Riders On The Storm'. A highlight of this is the extended lead guitar solo that powers out some tremendous licks. This one is a rollercoaster ride of eclectic styles and one of the highlights. 'Grotte' follows as an instrumental with tribal drums and scorching guitar work, absolutely mesmirising and with some very fast arpeggios and hammering. The flute is silky smooth and haunting. Parts of this have a spacey atmosphere and overall it is a beautiful piece of music leading to the bombastic final tracks.

'Last Broadcast' is a psychedelic track especially enhanced with fuzzy guitar and spacey textures. The vocals are nicely performed here, some of the best on the album, and there is an electronic vibe that is endearing breaking away from the heavier riffs. The lyrics are memorable, 'electrified, or to not let go, to softly say no, electrified, like I'm always lost in snow, gone.' Parts of this are very dreamy, but it has a downbeat darkness and the guitar distortion is lurking around the corner ready to break through. Eventually the guitars return and powers out a simple but effective riff, and the structure spins out of control in an extended coda to draw it to a satisfying conclusion. This is one of the best songs I have heard over recent years.

'Alive' is a mini epic with very strong vocals and uplifting melodies. The guitar soloing is incredible and it competes nicely with the flute as the two instruments trade off nicely. The melodies on this are more uplifting and again the vocals are excellent. The album is absolutely improving on every track which makes a pleasant change. I love the melodies on this and the lyrics in that infectious chorus, 'we're coming alive again, the silence has ended, it's morning the dawning of everything, coming in from the cold, the kaamos descending, tomorrow from beyond the sea.' After the second chorus the rhythm moves to a kind of techno disco feel and this is curiously effective. I love the synth swirls and the pulsating disco bass pulse. It is such a diverse detour into this style that it works beautifully balancing out all the heaviness preceding. As the crystalline synths chime and the flute warbles dreamily through there are outbursts of distorted guitar. Eventually a crunching riff dominates and I love that sound at 5:30. Synths join in with a darkened melody and some crashing percussion beats. There is a false ending and then we are treated to a glorious lead guitar break with soaring string bends and this culminates on another chorus to bring it to an end. Easily the greatest track on the album for me as I have rarely heard such a retro 80s sound merged with the current metal vibe done so brilliantly.

'Angels and Demons' closes the album with another melodic uplifting song driven by guitars and some wonderful flute. This one has a Therion style cinematic feel with bombastic epic intro and an odd time sig in the verses. Again the style diversifies with time changes, and flute trilling. An extended lead break balances out staccato piano breaks with Zorba the Greek banging notes, and more retro synths and operatic vocals. This one is deliriously all over the place and it is glorious.

The album packaging is creative with some weird schematic drawings of the human anatomy and other odd structures, and all is designed in 3D (it was a nice touch to include the 3D glasses with this album too!). The 3D images jump off the cover in a wonderful digipak gatefold, and it works well as an innovative bonus, along with the lyrics embedded in the design.

At the end of the album one is left with a profound sense that they have heard a special album with some moments of brilliance along the way. The album moves away from the prog metal that launched it, and towards the end the music has transformed into some psychedelic alternative rock. There is even a smattering of some oddball disco beats, but it all works well to maintain the interest of the listener. I would definitely recommend 'Of Sun and Moon' as a piece of very accomplished musicianship and accessible heavy prog. The vocals are never too raspy and at times are sung with powerhouse emotion. The riffs never dominate for too long and there is enough here to satiate the palate of most proggers who enjoy eclectic prog sounds tinged with spacey psychedelica.

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 Of Sun and Moon by OVERHEAD album cover Studio Album, 2012
3.89 | 64 ratings

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Of Sun and Moon
Overhead Crossover Prog

Review by VanVanVan
Prog Reviewer

4 stars It's astounding (and a little bit depressing, really) how many gems seem to slip through the cracks. I hadn't heard of this band before I started reviewing their latest album, and from what I've heard it certainly seems a shame to me that they're not being talked about more. This is hard-rocking, eclectic crossover prog in the vein of Fair to Midland, with a wide variety of audible influences and an impressive degree of genre bending.

The album begins with "Lost Inside 2," which makes use of an eclectic riff and some Dream Theater-esque textures to create a very interesting mix of heavy and light music. An anthemic chorus gives the track a bit of extra kick, as does an absolutely wicked synth solo in the middle of the track. All of the instrumental interplay is brilliant as well, with guitars, percussion and synth all melding in a way that makes each instrument sound like a piece of something greater; there's none of the overly flashy pyrotechnics from one instrument in particular that often make a track sound overly busy. Instead, the musicians work together, and the track is that much better for it.

"Berlin" has a bit more of an accessible flavor to it, with another great riff and another great chorus that reminds me heavily of Fair to Midland (and I mean that as quite a favorable comparison). A slick and very interesting guitar solo takes up a good chunk in the final third of the track, and there's a great reprise of the chorus before the track ends rather abruptly.

Fortunately, "An Afternoon of Sun and Moon" begins straight away, with a softer sound than the previous tracks that reminds me of a combination of Fair to Midland (again) and Muse. It's a fascinating sound that clearly draws influence from a lot of different sources, but it also sounds incredibly fresh and should have a lot of crossover appeal who to those who don't necessarily like straight prog or straight alt-rock. The group does a great job with the overall atmosphere of the track, and as a result it ends up being every bit as interesting as the first two tracks even if it doesn't hit quite as hard. It certainly doesn't hurt that it's as hooky as all- get-out, either.

"Aftermath" begins in a similar vein, with an understated, slightly electronic sounding groove and some slightly mixed-back vocals. It's a very laid back atmosphere, and it really highlights the brief punctuation of heavier guitar riffs throughout the track. Once again, the chorus is very catchy, and there's a very cool flute solo at the end that provides an interesting contrast to the rest of the instrumentation.

"Syriana" starts with some punchy percussion before launching into a wild, slightly eastern- sounding theme. At risk of sounding like a broken record, the track (at least to my ears) once again carries a strong Fair to Midland vibe, and carries on the tradition the group has established thus far of having a strong chorus, though this one is perhaps a bit less bombastic than some of the previous ones. A wonderfully weird, distorted, howling guitar solo takes the track into its final vocal section, which is surprisingly tender and restrained given the instrumental it follows.

"Grotte" is the shortest track on the album, but it's also one of the most interesting, with a kind of tribal groove from percussion and bass backing up a very fluid, expressive guitar solo. Fully instrumental, it's quite an eclectic little piece of music, with a huge variety of aural textures blending together to create a small but very densely composed piece. The genre- bending is impressive as well (as it has been on the whole album so far), with strong elements from space rock, progressive folk and of course alt-rock all showing through. "Grotte" is one of my favorite tracks on the album despite its brevity, and I have a suspicion that many of my fellow progheads will think similarly.

"Last Broadcast," on the other hand, is far more stripped down. Spare but nonetheless hauntingly beautiful, the track makes use of psychedelic guitar and understated bass along with what sounds like a whistle to create an intro that sounds like Ennio Morricone could have composed it if he had sat down with Pink Floyd and had a jam session. Once vocals enter, the track takes on a bit of a different flavor, retaining all of the beauty of its introduction but morphing into something more intimate. The vocals here are among the best on the album, with the slightly raw delivery perfectly complimenting the spare, atmospheric music. Even more impressive is the fact that the most laid-back track on the album is also among the longest, and it stays compelling throughout its entire duration by utilizing the "rising and falling" of the musical intensity in a way that's highly reminiscent of many post-rock recordings. There's a brief section of tempo acceleration toward the end of the song that brings the track to a chaotic close, setting a foil to its calm beginnings but transitioning beautifully into the next track, "Alive." The penultimate song on the album kicks off with a great deal of energy, and features some great vocal hooks to complement its heavier sound. There are some electronic elements filling out the background that, by their direct or indirect influence, really highlight the far- reaching influence of Kraftwerk, and serve to give the track a very refreshing feeling. There's some great instrumental soloing towards the end of the track as well, and the galloping flute/guitar duet in the track's final 90 seconds is amazing.

"Angels and Demons" begins with an intro that sounds shockingly like Song for America-era Kansas, but it quickly delves into a more standard alt-rock vein, though the flute part certainly helps to set it apart. The chorus, once again, is excellent, and though the different sections of the track sound perhaps a bit jagged when put together, "Angels and Demons" is a great track to end the album with and it's the kind of song I would imagine would be very fun to see live. The guitar and flute combo is once again very effective, and the track closes as it began, with the big, bombastic, "Lamplight Symphony"-esque theme that finishes the album off on an appropriately grand note.

Overall, then, Of Sun and Moon is a very good album and it's an excellent entry into the genre of crossover prog. Those who think pure symphonic is too long winded and pure metal isn't catchy enough should find a perfect balance of elements here, and prog fans looking to convert their friends to the genre may find a perfect starting point here. I'd also heavily recommend the album to anyone who enjoys Fair to Midland, as I can hear a lot of similarities here. A very solid effort from what is obviously a very talented group of players and songwriters.

4/5

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 Of Sun and Moon by OVERHEAD album cover Studio Album, 2012
3.89 | 64 ratings

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Of Sun and Moon
Overhead Crossover Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Finnish band OVERHEAD has been a unit for 13 years at this point, and 2012 marks their 10th anniversary of their debut album "Zumanthum". "Of Sun and Moon" is their fourth full length studio production, and was released by the German label Progressive Promotion Records in the summer of 2012.

Overhead's fourth studio album "Of Sun and Moon" is a production that, despite some detours into slightly unexpected waters, first and foremost comes across as a strong recording within the accessible, melodic progressive rock segment: strong melodies, strong and powerful vocals, compact and energetic arrangements. I'd estimate that fans of Sylvan should be something of a key audience for this production, and in particular those amongst them who enjoy the likes of Porcupine Tree.

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 And We're Not Here After All by OVERHEAD album cover Studio Album, 2008
3.10 | 46 ratings

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And We're Not Here After All
Overhead Crossover Prog

Review by Kiwi1

3 stars So, what's the problem with this album? Well, as a piece of Melodic Rock there is very little wrong with it at all. The songs are well-played, often with catchy hooks, and they benefit from a good, clear production. If the intention of the band is to provide good, quality music in this style then I must conclude that they are successful. To criticise any band, after all, for not playing a style of music that the listener prefers but which was never the intention of the musicians in creating the album, would be unfair. Yet, as I am submitting this review to a site dedicated to 'Progressive Rock' and as I listened to the album with an ear for that style of music, I cannot help but regard the album with some disappointment. Now, 'Overhead's' first two albums were both fine examples of 'Melodic' Progressive Rock. Agreed, neither were examples of 'complex' Progressive Rock in the mode of, say, Anglagaard, but there was a certain inventiveness ? the music included jazz, folk, Space-Rock and hard-rock elements - and development of ideas (even the ubiquitous esoteric 'concepts') across some lengthy tracks and throughout the albums as a whole which lent each a coherent 'Progressive' unity. The amalgam of the 1980'style of 'Neo' Progressive with its focus upon accessible melodic and harmonic patterns and the harder edge of 1990's style Progressive Metal led, in those albums, led to a highly successful outcome. But most of these 'Progressive' dynamics are no longer apparent on this 3rd album leading the music perilously close to what Kevin Holm-Hudson terms 'Prog-Lite'. This is a pity given that 'Overhead' self-proclaim, in various on-line interviews, their adherence to the Progressive Rock project and that their earlier work (and even the musicianship on this album) suggests that they are more than capable of producing high quality music in the 'Progressive' style without needing to embrace compositional complexity for its own sake. It would seem that, unlike most Progressive Rock bands, 'Overhead' has garnered, at least in Northern Europe, some commercial success. Has the lure of commercial success, I wonder, led them in the wrong direction and away from what had earlier lent the band some admirable 'Progressive' credentials? Compare this album to the brilliant contribution to compilation album 'Tuonen tytär II: A Tribute to Finnish Progressive Rock of the 70's' and the point I am making here becomes all the more apparent.

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 And We're Not Here After All by OVERHEAD album cover Studio Album, 2008
3.10 | 46 ratings

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And We're Not Here After All
Overhead Crossover Prog

Review by b_olariu
Prog Reviewer

3 stars And We're Not Here After All released 3 years later after the briliant Metaepitome, this album from 2008 is much less intristing and aswell they change a little bit the direction, musicaly speaking. When I've heared this album I said to mysef, what the heck this is another Porcupine Tree clone album, much moder in sound then the predecesor, less complex arrangements. While the band has it's moments here, specialy on ...to the Madness, the continuation of the opening track, that has some good keybords and guitars and has that Metaepitome feel, the rest of the pieces while are not bad are far from being intristing, at least for me. I do not like this direction band took, maybe they find another target to focus one in this bussines, fans of more cross over prog will enjoy this but to me seems that the band lost the consistancy in song writting. No more interludes between guitar and keys, no more that Floydian space rock that made Metaepitome so great, here we have simply said a moder prog rock album, not far from Riverside in manner of composing. Well I will try and give after some spins 3 stars but not quite there, I was simply shocked in a bad way to here this after the excellent Metaepitome, it was only 3 years for the band to change direction in some way. Not recommended , not really bad either, a forgetable one yes. No highlights here, only tracks no pieces.

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 Metaepitome by OVERHEAD album cover Studio Album, 2005
3.86 | 91 ratings

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Metaepitome
Overhead Crossover Prog

Review by b_olariu
Prog Reviewer

4 stars Yes, this is one of my fav albums ever

Second album Metaepitome from 2005 of finish progressive rock band named Overhead is an excellent example of sheer greatness in this style. I find it great from start to finish, having one giant piece clocking around 20 min, the title track is the best band ever done in their career for sure. I like a lot the contrast and moods this album offers and specialy this piece, from Floydian atmosphere to a more metalized sections towards the end of the piece, with brilliand songwritting, nice guitar and in same time very intristing passages and above all some of the most great arrangements on keybords I've heared in last years, simply amazing, definetly the cherry on the cake here. Another highlight for me is Point of view with fantastic guitar chops in the last part of the track made in Jaako Kettunen, excellent again. The album ends with another long piece Dawn remind me in places with Marillion, specialy on guitar parts , but again this band from Finland done a fantastic job, no wonder that this album is the highest rated from all 3 released by the band, is their best by far and one of the most intristing I've heared coming not only from Finland but in general. I was simply blown away buy the musicians songwritting and how easy they handle the instruments. Overhead can go from slow mleancholic passages to a more up tempo with amazing ease, a thing that must be laudatory on this album , because has no faults at all, maybe the voice is less intristing for me in general , but overall this album must go highly recommended. 4 stars, kick ass release.

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 Metaepitome by OVERHEAD album cover Studio Album, 2005
3.86 | 91 ratings

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Metaepitome
Overhead Crossover Prog

Review by Avtokrat

4 stars Metaepitome may not be a masterpiece but surely is a truly enjoyable album from the beginning to the end with no real weak point and several moments of great music. The technique of the musicians is without any doubt of high level (as evidenced by the remarkable guitar solo in "Point of View"). Its main stream is neoprogressive but with several heavy/rock insertions that give the melodic lines power and energy. There is no particular piece that shines over the others in my opinion, but all the tracks maintain on a very good level, even if the musical line of the closing one ("Dawn") actually seems to extend a little bit beyond what is due. This album definitely deserves 4 full stars.

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 And We're Not Here After All by OVERHEAD album cover Studio Album, 2008
3.10 | 46 ratings

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And We're Not Here After All
Overhead Crossover Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

3 stars Nice album from this cool Finnish band!

Some years ago this album was offered for review in the collaborators zone, I took advantage of it and download it, but I consider myself guilty, because I totally forgot about it and now, after two years, I am reviewing it. So I ask for my sincere apologies to the band, this is something I had not happened to me before.

This is the band third and latest studio album, but actually was the first one I ever listened from Overhead. The album features seven songs and a total time of 49 minutes. The song that opens "And We're Not Here After All" is entitled "A Method?" which starts like a kind of lullaby, tender notes and soft nuances, but it is progressing and growing with the minutes, until it explodes and becomes heavier, so this introduction works good so I am really interesting to see what is next.

And next is "?to the Madness", that ellipsis suggest that this is the continuation of the first song, though the sound drastically changes. There are bass lines that create an atmosphere of tension, the vocals work well together with the music, and the drums are always nice and constant. There are some nice sounds created by guitars and keyboards. The song becomes actually tenser while the seconds pass, but later when vocals reappear it calms down a little bit, nice song.

"Time Can Stay" starts softer than the previous; even the atmosphere here suggests a moment of calm and tranquility. The sound actually is quite catchy and enjoyable, its softness in some passages may provoke a ballad-like sound, but we know that is not a ballad at all, so don't pay attention to me. After three minutes the sound changes with the appearance of keyboards, but it changes again some seconds later when it stops and opens the gates to acoustic guitars, so later the song returns to its first form. The last part of the song is exciting, creating an ambient of seduction and movement.

"The Sun" is like a short interlude, just one minute of a soft sound that will lead to the next track. So "Lost Inside" begins an eleven-minute song that offers a blend of different sounds and I would say of different prog subgenres. It starts with a soft and warm tune, gently in moments, though there is some nervousness on it, provoked by the bass and the keyboard sound. Minutes later it turns into a heavier song, there are some heavy guitar moments where one can expect a metal-related passage is coming, though it does not really come, actually it slow down again, and later returns to that sound. I like the piano work all over this song, it adds a special flavor.

Another good thing is the use of the flute, after the storm the calm comes, and it sounds like this when the flute and the acoustic guitar sounds. Excellent song!

"Entropy" is an exciting song and it can be noticed since the very beginning, the bass notes and the keyboard work is amazing, because they invite the listener to keep the attention and expect what its coming next. Then a powerful vocal work appears, so now the vocals and the music work perfectly together and create an enormous harmony, I have to confess that I truly enjoy listening to this song, I like singing it and enjoy it from beginning to end. Though it could be repetitive, I have to say that this is without a doubt my favorite song of this album.

And it finishes with "A Captain on the Shore" which is another long composition, but here it does not offer the same excitement than previous songs. Starts softly with flute and easy- listening rhythm, there is actually a chorus that sounds like an average pop-rock band, I don't like that, I have to say it. Its delicate and catchy sound does not really work for me, I would have preferred a song alike to Lost Inside, for instance, because here its repetition does not create addiction, but boredom. I must say I don't really like the way the album finishes.

After reading the reviews, I disagree with some who rate this album low because it is not really bad at all, I must admit I have never listened to Sylvan so I can't say if there are similarities or not, actually I don't care. What I care is that I enjoy listening to this album, it is clear that is not the freshest or most original act, however, in my opinion it is worth listening, there are some interesting songs. My final grade will be three stars. (and a half)

Enjoy it!

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