DIVINE INNER TENSION

1. "Tunnel Vision Alibi" (3:11) With Pat Benatar structure and force, this is a little more 21st Century tech metal than Ms. Benatar's ilk. (From the song's first notes, I thought that the lead vocalist was a woman!) (8.75/10)

2. "Mind Rider" (3:21) sounds like an inverted variation of the album's opener before going more THE MARS VOLTA with quick, spacious pauses and more Cedric Bixler-Zavala-like vocals. The instrumental passage in third minute is brief but packed and rear-ended by a slowed down passage with TMV-like multi-voiced vocals. (8.75/10)

3. "Chunker" (4:17) man are the guitarists and drummer working on overdrive for this one! Interesting but the TMV sound and Cedric Bixler-Zavala-sounding vocals make me think I'm just listening to TMV! The final 45-second dream sequence is a bit weird. (8.66667/10)

4. "60-Minute Session Blocks" (3:13) a different sound! This one more pop-oriented (less metal and more hard rock--at least until the choruses). I keep hearing The Police's "Sending out an S.O.S." in the third minute. (8.75/10)

5. "Maladapted" (3:50) great lyric to a LINKIN PARK-sounding song. Even the impassioned screams in the second half only lend to the Linkin Park similarities. A top three song for me. (8.875/10)

6. "The Story Writes Itself" (4:15) opens with cool layered weave of guitar shredding before launching into yet another TMV-like power jam--at least until 2:20 when everything stops and we enter another dream-like passage--a dream that turns into a nightmare. Don't get me wrong: I really like and respect The Mars Volta, but it pains me to hear a band that so clearly, blatantly, imitates their heroes. (8.75/10)

7. "(In My Dream)" (1:35) just like the opening of the album's first song, I have trouble determining whether or not the singer here is female or male. (He's male.) Pretty little prelude to the next song. (4.5/5) 8. "I Saw You Hanging" (3:43) A strong, powerful story delivered over some very nice music with some darn good singing (very sensitive, genuine sounding). Could almost be an Evanescence song. (8.875/10)

9. "Tithe" (3:56) opening with djenty machine gun military rhythm sounding like old Opeth or Pain Of Salvation--a sentiment that is amplified as the singing moves on. Though the song has multiple motifs sown into line, the singing remains fairly consistent (TMV+ death metal) until the bizarre finale. (8.875/10)

10. "Feeble Words" (2:26) a softer dreamy soundscape within which Donovan's most female-yet voice sings--almost sounding like a little girl. (Intentionally?) or POISON. Weird but pretty--and surprisingly emotion-packed in a pop hit kind of way. (4.5/5)

11. "Little Song" (4:17) funky FLEA-like bass line is joined by drums and effected guitar tremolo-picking before Donovan joins in singing in his power voice. He's so invested! Best chorus and followup sections on the album. And some of the best sensitive singing on the album--and this from a very passionate singer/songwriter. Quite a lot of similarities to KARNIVOOL's Ian Kenny. The best--and my favorite--song on the album. (9.5/10)

12. "Under The Floor" (3:50) One again Donovan's androgynous voice fools and confuses me--over some powerful tech-metal music. My final top three song. (9/10)

Total time: 42:00

B+/4.5 stars; a near-masterpiece of variable prog metal; something most prog lover's will enjoy and appreciate-- especially if you're into The Mars Volta.

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