QUIET WORLD

1. "Mute" (6:21) opens just like a Devy Townsend piece--something from one of his more comedic entertainment classics like Ziltoid--but then at 1:35 the more theatric, QUEEN-cabaret-like stuff begins--some of Myles Yang's guitar sound choices even sound like a modern Brian May playing some of the guitar parts. At 2:58 vocalist Robert Edens launches into a very engaging multi-track vocal "chant"-like passage which is joined by a gradually ever-expanding field of jazzy orchestral instruments. By the end of the fifth minute the music has blossomed into a kind of Golden Age of Broadway 1950s grandiosity but then at 5:15 growl vocals, metal machine gun bass drumming and multiple electric guitars (some of which still sound Brian May-ish) explode into the track to finish the song with some modern youthful force. Very interesting and often amazing song. A top three song for me. (9.25/10)

2. "The Spark Of The Archon" (8:50) more retro-prog metal schmaltz. The combination of stop-and-go, quick-changing heavy metal structure and sound with classic jazz and Broadway melody making and stylings is quite unusual and remarkable; there are very few artists that come to mind when trying to compare this music-making style (one of which is Devin Townsend). This song does not have so much variation as the opener but continues to carve out quite an unique path for itself--especially with its melodramatic final minute. It is also filled with occasional moments of breathtaking genius, beauty, and emotion. (17.75/20)

3. "Passage" (8:07) toy piano and bassoon open this before oboe (and, later, bowed double bass) joins in to form a weave that sounds more Present/Univers Zero. After 90 seconds of this introductory overture, vocalist Robert Edens joins in, singing in a style more befitting the 1920s or 1930s. But then, around 2:05 the big band music expands with some (more) Brian May like guitar and militaristic drumming with the keyboard orchestration before crescendoing in some more metallic bursts. The music settles back into a most unusual jazz-metal sound palette as the vocalist and other instruments trade solos--until, that is, a harp bridge at 5:05 into a (13.5/15)

4. "Your Familiar Face" (4:11) A more poppy, QUEEN-like song, only, with all of the sharp edges, twists and turns of more modern metal music. I just love the multi-track vocal chanting that the band uses over the European jazzy soundscapes. My favorite song on the album. (9.25/10)

5. "Come Hell Or High Water" (5:54) a rapid-fire, twisting and turning metal song that reminds me of the stylings and humor of MR. BUNGLE and HUMBLE GRUMBLE. Man! Myles sure loves that Brian May sound! (8.875/10)

6. "Chromatic Lights" (2:14) bass and two guitars weaving ostinato melodies like a classical chamber trio. Is the crackling in the sound an attempt to throw back to the recorded music of Django Reinhardt and Stéphane Grappelli? (4.3333/5)

7. "Chromatic Aberration" (12:28) quite a suite! Opening with the melody lines of the previous song, only rendered unto keyboard, the song travels on a what feels like a hero's quest journey: encountering and surmounting many obstacles as one would working one's way through a video game. This could very well be the soundtrack to the "mind game" that Andrew Wiggin is subjected to on his laptop during his "down time" at the Battle School training program in both the book and film of Orson Scott Card's Ender's Game--the one in which he has to pass/defeat the giant and then the Formic queen protecting her egg. (22.25/25)

Total Time 48:05

The question is: Are these guys joking or will we hear more (and better) stuff like this from them in the future? The quirky changes and total mood shifts mid song--multiple times--makes one wonder what the goals/aims of these shifts are? It's almost as if multiple personalities are each given their turn at presenting the song's message. Interesting but often a bit jarring, unsettling (though never so much as in an UneXpect song). The overriding sentiment is, however, that this album's music is certainly memorable.

After years of living with this album, revisiting it several times (and feeling haunted by its very memorable and unique music), I've come to the conclusion that there is the music is steeped in some deep and complexly varied musical histories coming from each of its creators: a lot of knowledge of classical, Broadway/stage, ethnic, and, of course, metal traditions was necessary to create this very mature and complex (and theatric) music. Mega kudos to Robert, Max, and Myles, wherever you are. I think you created with your college dormroom album some kind of feat of wonder--perhaps even a masterpiece; one for the ages.

BTW: bassist Max Harchick is AMAZING!

91.01 on the Fishscales = A-/five stars; a minor masterpiece of intricately nuanced theatric prog metal; highly recommended for all prog lover's--an experience you will not soon forget.

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