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Haken - The Mountain CD (album) cover

THE MOUNTAIN

Haken

 

Heavy Prog

4.21 | 1315 ratings

From Progarchives.com, the ultimate progressive rock music website

Xonty
5 stars Well it's only taken 2 years and over 30 listens to review this album, so here it goes!

As with most of the heavier modern progressive bands, I never really got into Haken. "Aquarius" and "Visions" weren't particularly exciting to me, so "The Mountain" has broken down a lot of barriers. Although often compared to Dream Theater, the band sort of uses their template to build upon "The Mountain", adding their own personalities and techniques to the well structured mix. All in all, this proves to make an album as good as, if not better than the works of 21st century progressive bands. The album does contain a few prog rock cliches, making it a little less risky and adventurous, but unlike works such as "Hybris", it gives off a sense of familiarity. This, teamed with the band's talents and the innovative songwriting of Richard Henshall, proves to create one of the greatest albums of the last few decades. It really shows how the genre is still alive today - a solid 5 stars.

"The Path" acts as a fitting prologue and instantaneously creates a vibrant atmosphere. A fairly basic piece of songwriting, but little intriguing juts appear in the chord progression (at "our nightmare" for example) to prevent it from becoming too diaphanous. A great opener that fulfils its role in introducing you to the over-arching theme of a "Fountain Of Lamneth"-esque journey. "Atlas Stone" thens sucks you out of the wispy dreaminess, with a crisp piano passage. The production of the record is second to none, being very polished but still leaves room for the songs to breath (a trap most modern musicians fall into). "Atlas Stone" is evident of this, but better still, it immediately presents the band's talent and potential before the ten minute mark. Honestly, I still find it impossible not to be blown away by the constant variation of time signatures, harmonies, and occasional exuberant melodies give it a light-hearted feel that gets superbly devastated by the "weight of the world" chorus.

"Cockroach King" is perhaps the most "famous" track on the record. Ross Jennings' vocals slot right in to the unsuspecting lyrics which are effectively reeled off. I guess it's similar to the previous song, but here, the tongue-in-cheek satire is further accentuated by contrasting the intensely metal sections with the offbeat verses. Also, the subject matter is ultimately less empathic, and you're really watching this man on his journey giving into guilt. My only peeve about this track is the repetition, and I feel that they could have cut a couple of minutes off. As a result, "In Memoriam" hits you even harder with its solemn piano intro and opening lyrics "Take a step put one foot in the grave". It's really quite an affecting track, and somehow exhibits a darkness that is very indirect, and unlike most metal songs, not driven by plodding power chords and sombre themes. The band, as always, seem to leave just enough time before elevating to a spellbinding climax.

"Because It's There" is possibly the most recognisable track due to its acapella harmonies. There are a couple of patchy areas that I've really just grown to like, but at "Adapt to this world", the deep abyssal void fills with a lustrating feel of hope. It takes a couple of listens to intake those contrapuntal vocals, but it becomes easy to indulge yourself Arguably, it is one of the weaker moments of "The Mountain", but not a piece of filler, and certainly not castaway. "Falling Back To Earth" has become something of a modern prog classic. With its hard-hitting rhythms, discordant tritones, poignant lyrics, and a judicious musicianship, Haken have managed to make something of a mini-masterpiece. The determination and willpower these guys must have had to add a seemingly unnecessary part to "The Mountain" and its storyline is astonishing. Thankfully, it is really a crucial segment to the album, with many eloquent emotions being conveyed throughout. Their knack of playing an ever-changing style whilst retaining a strong theme is well shown here.

"As Death Embraces" is an incredibly tentative ballad, and the song is beautifully produced and well-sequenced. The huge contrast between it and the previous track brings out the emotional sterility and that airy darkness you hear in the lyrics. For me, this brief poem is ultimately a more developed lyric than your typical modern "light-metal" bands was produce, but as you've really gone through the album, it's much more relevant than a lot of these songs. You can really sympathise with the singer from the outside, perhaps even more powerfully than as with empathy, and as soon as he sings those high legatos, you're completely left hanging somewhere in oblivion. It's a very simple, floaty feeling that's commonly used done to great effect, and the occasional chordal jilts towards the end maintain that sense of unease, or even paranoia.

"Pareidolia" took me a few listens to get my head around to be completely honest. It never really appealed to me until I got into the compositional styles the band use. Either way though, it could still be considered a Dream Theater copy by many (e.g. the sitar sound being reminiscent of "Home"), and I for one would agree with them. They're doing everything extremely well in this vein, but it's not entirely under the thematic umbrella, but occasionally on hearing, I do like this breakaway from the norm to a more exhilarating metal feeling, as opposed to the slight poppiness of modern heavy prog. You really can't deny how well written this song is as well, and it does add some kind of variation, so I'm more than glad its on here. "Somebody" concludes the album on a slight anti-climax to be honest. I was expecting a less ambiguous and ambitious ending frankly, but that said there's nothing particularly wrong with the track (apart from it being fairly laboured and stretched out). There's not an overwhelming sense of having made it, nor an internal, spiritual epiphany (or both, as heard in "The Fountain Of Lamneth"). Instead, there's a weird compromise, and the music offers little salvation aside from their consistent signature sound. I guess there is something in this piece though that keeps me hanging to the end, and a feeling that whatever fought this character is getting his just deserts. What I'm saying is that the whole thing together is hugely rewarding and liberating, and this final track accentuates the mood.

A+: If ever there was a reason that I wasn't born in the wrong generation, this would be it. Holds together and keeps you in awe for over an hour - a tremendous musical feat by any means.

The Path: ***** Atlas Stone: ***** Cockroach King: ***** In Memoriam: ***** Because It's There: ***** Falling Back To Earth: ***** As Death Embraces: ***** Pareidolia: ***** Somebody: ****

Xonty | 5/5 |

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