PARADIGMS

I'll be the first reviewer to write one on their page. I'm not great at reviewing, so apologies in advance. I've listened to this on Spotify, so here we go.. (Love the album cover by the way, very dark, and love that Orange and Black contrast)

1) Infinite Names (11:57) It starts out with what seems to be some reversed electric guitar, then some industrial sound effects. The effects continue, but there is now a straightforward guitar solo, it provides an atmospheric and dark introduction to this album. around the 3:20 mark, some heavier drums comes in as the solo continues. The solo fades out at 3:45, leading to some synth sounds and atmospheric choir sounds. Swirling synths continue as the choir fades in and out, it seems to be building. At the 5:30 mark, the guitar continues, but this time with a swagger to it! A slightly grittier tone comes on, it's as if Gilmour was in a grunge band. The choir is gone now, the swirling synths grow louder, as does the guitar and drums. At the 7:15 mark, the solo comes to an abrupt stop, as synths take over and the choir comes back, this time more haunting than the last. At 8:10 we hear 'random percussion' (as preformed by Suzi James) This seems to be an instrumental track, at there are no vocals as of the 9:30 mark. It's not just the intro to the album, it's an epic intro to what is (hopefully) a long lasting career! Reminds me a bit of something I'd do with all the atmospheric stuff. (In my forum signature if any of y'all are interested, but this is about the great band T.A.P., not me :)) Overall, a great track! Highly recommend to any instrumental prog fans in love with the atmospheric side of prog.

2) The Progbient (5:02) I assume this is a combination of the words 'Prog' and 'Ambient' of which I approve! We here violin (I think that's what that is) with a tone similar to what you'd find in The Beatles 'Revolution 9' (that's a compliment). Going into this track, I didn't know what to expect, and am writing this review while I listen to the record, so I'm not sure if there are any vocals (I just checked, this is an instrumental album, cool!) This works well as an instrumental album, although I'd be interesting to hear such talented musicians tackle some vocals! (There are wordless vocals, lots of 'ahhhhhhhhhhh') not sure how to describe the guitar tone, groovy? It sounds a lot like the first track, different atmosphere, and the guitar is lighter, so definitely a different track, until around 4:30 when there is a sudden change in tempo and mood, synths are taking over! A mourning violin starts as the track comes to a sudden stop. I am LOVING this so far!

3) Initiate Protocol 7 (5:55) Some flute opens us up (I think that's flute, hard to say) and an effect heavy guitar brings us right in. Piano completes the mood, I could fall asleep to this, it's oddly beautiful! I love the mix play the guitar and flute, it sounds like I'm on a boat (only with headphones) drifting downstream, drums and a reverb laden guitar continue us on our journey. A soaring solo and synth section will inevitably envelope the listener in it's wonderful soundscape. The song fades out to the flute and guitar still going back and forth.

4) Signal Transactions (6:22) A violin and a guitar full of volume swells and tapping provide a suitable introduction. Some wave sounds lie in the background as the track shifts in a more eclectic section, with harder hit drums and a grittier guitar tone. Ke ys come in and out. a bit bluesy, and a touch of psychedelia. a quickly arpegiating guitar moves us along quickly, and seems to speed the track up. Some more violin (reminiscent of King Crimson's 'Providence) guide us to the end, short and sweet!

5) Silence from the Storm (12:27) The longest song on this album by a mere 30s seems to begin right where the last track ended, with violin opening us up. It begins to build somewhere around 1:15, and build it does. I'm not sure where this is going, but it continues to build, and build! The guitar is leading us down a path to who knows where, but it's somewhere you'd rather not be. Heavily effected drums come in around 5:00, and the track is still building! Another solo section carries us over 7:30, it seems to have quieted down, but there's a ferocious intensity in the atmosphere, the album cover pairs perfectly with this track! How amazing this track would be with some darker vocals to match! However, in music such as this, I tend to not prefer vocals, although it might be fitting here (what you could do would be release the album as a double album, one disc with vocals, one without) The track unfortunately seems to have climaxed at the 5 minute mark, but when listening in whole, it is rewarding, the track climaxes early and then slowly lets itself down, still a great track

6) The Last Words of Don Schultz (5:02) A trippy opening and heavily delayed guitar (I think?) kick around a bit with some reversed drums (very interesting) this is probably the most experimental track of the lot, though none of these are. I do like the production though, modern but still has a bit of warmth to it. Very Jazzy and you can hear the worldly influence on the instrumentation, a bit African with the drums. The shortest track on the album, but still good.

7) Terminus (5:40) Opening with some tubular bells and guitar harmonics, which lead right into a bend-heavy solo and a quiet and slowly strummed guitar which leads into a chaotic drum part. Another building track, (if Oldfield liked Black Sabbath) . The atmospheric-ness of this track is less prominent that on the other tracks, but provides a suitable album finale!

In conclusion to the longest review I've ever written, My only regret in this album is that I didn't make it! Incredibly talented individuals, carry on proggin!