STRANGERS

I'd never heard of this band before but, due to it's high marks from other reviewers and the presence of the AMAZING talents of vocalist Noa Grumann (SOUL ENEMA), I had to check it out. I am so glad I did!

1. "Overture for the Estranged" (6:34) brilliant and unusual "church choral" opening before tech/extreme metal takes over. For some reason I'm reminded of Canadians UneXpect--I think it's the chunky virtuosic Stick-like bass and frequent and unexpected twists and turns--though there is a Devy Townsend-like finish. (9.25/10)

2. "Break the Ice" (3:51) part QUEEN, part Broadway musical (Wicked and Frozen come to mind), Noa's vocals are all over the place--she's a one-person opera! Quite enjoyable and entertaining. Noa is even more impressive than I found her on the 2017 SOUL ENEMA masterpiece, Of Clans and Clones and Clowns. (9/10)

3. "Tantibus II" (3:39) again, Broadway musicals come to mind with the opening of this one--but then we get Noa's growl vocals )(one of the only women who, in my opinion, successfully present these). Great bass play. (8.75/10)

4. "Stranger" (4:10) zig-zagging metal music establishes itself first before Noa's vocals belt it out. Though the vocals are fairly straightforward metal, there are some interesting musical espositions--particularly the piano in the midsection. There are a few instances where Noa's voice convinces me that she could do a pop ballad as well or better than just about anybody on the planet. (9/10)

5. "Concrete Cages" (7:21) folk instrumentation sets a rather "smooth" prog metal with melodic riffs and chorale lead and background vocals accompanying Noa's storytelling historiography. Nice interplay between keys and bass in fifth and sixth minute soli is followed by choral finish within which Noa scats impressively. Pretty cool song. (13.5/15)

6. "Over" (6:14) muted djent with choral "ho"s and Noa's growls, and prominent appearance of Hammond organ. Transition into chest voice for the second half of the verse before choir and growl chorus. Very cool! Very militaristic. The music is full of twists and turns, with some great bass and guitar riffing in the third minute. I love the polyrhythmic passage that follows while the keys solo in an odd low whistle sound. The call and response between the two Noas (growl and chest voice) and the "Greek" "Hellscore" choir are awesome. Great almost rap/LINKIN PARK riff before choral finish. (9.25/10)

7. "Under" (4:13) torch singing jazz! I was privileged to hear a bit of this style from Noa on Of Clans and Clones and Clowns. The Broadway/Ray Charles gospel choir chorus is cool--and different (and totally unexpected). The spiritual slave-rebellion lyric seems quite in line with the music. Weird how the metal instrumentation can be almost rendered "normal"! (9/10)

8. "Huts" (3:26) some cool keyboard chord progressions anchor this prog metal song in some progginess. The Hellscore and children's choirs only take us back to the gospel feel of the previous song--but not so thoroughly. Nua's lead is so like that of something delivered by Prog Metal's female divas like Simone Simons or Floor Jansen that I think she deserves to be included in that esteemed company. (9.25/10)

9. "Gone" (4:43) great chord progression to open turns into something more like a standard classci rock song with metal instrumentation and awesome Alannah Miles/Lita Ford-like vocal. Nice melodies but really a pretty average. (8.75/10)

10. "Addicted" (5:29) back to UNEXPECT singing Broadway tunes. Perhpas not as wild and twisty-turny as UneXpect. Such a gorgeous voice when Noa goes into her head voice like she does in the beginning of the third minute. Hellscore Choir takes over and dominates the next 45 seconds before Noa rejoins. Again Noa hits some spine-chilling gorgeous notes and flurries in the fourth minute. (I think I'm in love!) Then lead guitar and piano take turns soloing over a kind of klezmer bass. Saw-synth takes the next solo before bass races to the finish to win first place! (9.25/10)

11. "Mist (3:22) gorgeous melodies, gently pacing, beuatiful singing by the amazing Noa Grumann and wonderful accents and embellishment from the use of the full choir, this is a great song--my favorite on the album. (10/10)

Total Time 53:02

Though prog metal has never been my favorite type of music, there is enough interest generated by Noa Grumann's exceptional talent and the preponderance of enjoyable melodies and diverse choral performances to keep this interesting and engaging, start to finish.

A-/five stars; a minor masterpiece of progressive rock music; something to enjoy for even the most meek of prog lovers. Noa Grumann is a force!