UNKNOWN

After an 8-year hiatus and having two studio albums and one live album in their résumé, Vienna returned to the recording studios with "Unknown", arguably their most powerful item. "Unknown" finds the band exploring their symphonic-meets AOR sound with added touches of heavy prog and metal- prog. Compositions also bear a fuller atmosphere, since the melodic and harmonic ideas are thoroughly integrated by the inputs of guitar and keyboard and their mutual interactions, while the rhythm duo keeps itself genuinely busy. The result was a Vienna more pompous and more powerful than ever before, indeed, just as I stated earlier. Chamaru's vocal style remains an acquired taste: he's got skills, undoubtedly, but his timber may not be everybody's gold (although, the same can be said about the lead singers of Outer Limits, Mugen, Midas and others). The album kicks off with the overwhelmingly potent 'Entrance', a real pyrotechnical progressive voyage that is set to shake the listener's conscience from step 1. It's catchy and impressive (although it may sound suspicious to those who dogmatically prefer subtlety above all other sources,. but.). The second track is more focused on AOR-ish territory with symphonic prog adornments, not unlike "90125"-era Yes. 'The Destruction Day' also bears an AOR tendency, but definitely it is more vibrating in comparison. 'Legend' is the longest track in the album, with its almost-10 minute span: it is certainly a well accomplished number in terms of composition and arrangements, with a special mention to those mesmerizing chamber music ornaments that so well fit the symphonic rock standard. The keyboardist sure isn't shy when it comes to showing his skills, but the fact remains that his performance is tasteful among the inherent pomposity of the track. Later on, in 'Moonstone', the influence of epic chamber music will return in full swing, once again with a featured role by the keyboardist as he conveys mesmerizing Baroque-style orchestrations. Acoustic and electric guitars are used as a counterpoint-provider companion to the keyboards. 'Open Sesami' is basically a power ballad, like a moment of melodic serenity before the instrumental tour-de-force 'Anubis' frontally brings the storm of complex rock that had already been present in the opening song. Sure Vienna has assumed the influence of early 90s prog-metal in a very thorough fashion. 'Melanchol of Matador' is yet another symphonic prog zenith in the album - starting with a dexterous instrumental section full of Arabic allusions, things turn into a suave mood for the 3/4 tempo sung section. The synth lines bear a Flamenco vibe that feels very consistent with the track's title, ultimately leading to its amazing closing climax. "Unknown" ends with the power ballad 'For an Illusion', a song that pretty much retakes and reflects the old 80s Vienna sound for its main sections: the coda brings a dramatic tempo shift akin to the prog metal standard, and this makes it for a coherent closure. I firmly believe that this band's musical legacy should be more disseminated and appreciated than it is. This is an excellent prog album, and it sure won't disappoint those who love their prog really symphonic with a hard rocking edge and a solid melodic structure.