BEYOND THE VEIL

1. "Beyond the Veil" (6:56) the familiar side of iNFiNiEN opens this one: piano, Chrissie's quirky lyrics and vocals, and the Tom and Jordan's energetic virtuosity lifting the song and melodies into another jazzier dimension. I like the clever (and quirky) inclusion of the Spanish/flamencan motifs--a bit of THE MARS VOLTA feel therein. (13/15)

2. "Mannequin Parade" (4:58) sound palette and styling a bit reminiscent of some previous sounds and textures--even something from one of their past albums. But it's so smooth, so rich and inviting, the melodies so engaging and enchanting; I feel, truly and really, as if I am being put under a spell, hypnotized. Great groove set down by rhythm masters Jordan Berger and Tom Cullen. A dreamy, top three song for me. (9.75/10)

3. "Wheel to Nowhere (Good Luck)" (6:27) Interesting construct--one whose stop-and-go, high-speed staccato bursts of notes, instrumental with vocals, could not be created or performed so well by many other bands than this. The jazzy psychedelia in the middle is very cool before Chrissy pulls us back into the jazz fabric she and Tom and Jordan are maintaining--but then, just as quickly, the band takes a left turn and forays into a more abrasive, almost metal (TMV) direction. (9.5/10)

4. "Our Breath" (5:50) what a vocal seductress--with an amazing lyric! So poetic it just sucks you into her spell. All the while, the band is performing a rather delicate and super-intricate weave of changing tempo music. Amazing construct! How does one visualize much less articulate this kind of music with all of its seemingly disconnected layers of activity and polyphony? More John McLaughlin-Herbie Hancock-like call-and-response machine gun conversations between guitar and piano while the rhythm section keeps it all glued with such virtuosic performances beneath (not to mention Jordan's virtuosic Jeff-Berlin-like bass play throughout). The most amazing, beautiful, jaw-dropping, yet easy to like and listen to song on the album. (10/10)

5. "Ascent" (9:11) very interesting, old-fashioned, European film noir -type soundtrack music that sounds so exotic and sophisticated as well as mysterious and obscure. I feel as if I'm watching some on-the-tail of a stakeout from some spy thriller set in the South of France or North Africa in the 1960s. Music constructed with the central participation of acoustic instruments--including flute and string quintet (two violin tracks, cello, acoustic guitar, and bass). As the song progresses, there's even a strong Jean-Luc Ponty/Mahavishnu theme/feeling being expressed. Tom Cullen and Jordan Berger are so solid, so integral, and Chrissie and Matt add so much in the way of piano, acoustic guitar and electric guitar textures and flourishes. It's awesome! (18/20)

6. "The Call" (7:18) A political critique. The song is ironically introduced with a slow, gentle musical foundation which then morphs into a pleasant Latin jazz dance form in the second minute. Probably the weakest song on the album in terms of complexity and surprises--though the music and vocal melody choices become quite interesting in the third minute and the fourth minute sees the instrumentalists exploring a variation on the famous X-Files theme. The surprises come in the lyrics. There is also present here a little similarity/familiarity to the music of CIRRUS BAY, though never as simple in musicianship or melodic structure as that of the late melody-master, Bill Gillham. I'm sure this song is very important to the band. Still, it is a song so far superior to so much of the re-hash drivel coming from other bands these days. (13.5/15)

7. "Gratitude" (6:22) Chrissie shows what is so special about her: commanding, unique vocals with great background vocal arrangements. Such a great whole-band weave with some awesome lead guitar from Matt Hollenberg throughout the second half. Top notch music combined with incredible vocal arrangement makes for one amazing song! Each alone would be enough, but together! A top three song for sure. (9.5/10) 8. "Prayer" (4:51) incredible instrumental (with ghostly vocalese)--so smooth and engaging. There is a bit of the drama here of a Pink Floyd/David Gilmour song with the urgence and insistence some of Steven Wilson's stronger songs. Great ender to a great album. (9.25/10)

Total Time 51:53

A/five stars; a masterpiece of progressive rock music, taking those terms "progressive" and "rock" to their fullest meaning in terms of progressing rock music into a fresh and forward direction. Definitely an album in the running for 2022 Album of the Year.

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