DIMENSIONS

1. Gone, a beautiful cinematic intro, a prog intro that made all the prog-heads throw it at him, since prog was dead except for DREAM THEATER; a hard rock metal sound from the 80s, thrash flirting with DEICIDE and other HOLY MOSES, a zest of VOIVOD too for a poorly polished archaic sound 2. Future Mind for the electronic tinkering, 30 seconds and then this sound almost becomes overdone, lacking in creativity; good drum pad, good eruptive riff, staccato vocals and a jet of extreme notes; it's stupid because there's a drop of prog blood behind it, let's continue 3. Dimentia for the austere guitar arpeggio on a dark phrasing, it declines starting with the screamed cry and the clique that goes with it; A bit of noise, and bam, at 4 minutes, the violin and guitar are bewitched. Here comes the prog, I believe it. 4. What Is But Cannot Not Be for the sound effects, that dark intro that makes you doubt the direction of the song; after that, it's unhealthy thrash on every level, and you feel like you're getting bogged down, there are even hints of METALLICA, MEGADETH, and EXODUS from the beginning; 5. Singularity drives the point home, with a violent sound, poorly recorded, poorly mixed, absolutely bad; the snarling guitar solo with a distant keyboard can be misleading for a few moments, and the animal outro is terrifying. Ah, but why not extend this finale that made me prick up my ears? 6. No Apology as an encore with the same ending, but a bit longer, a horror cinematic with an unhealthy whiff of heavy prog blood.

7. Trilogy of Knowledge - Intro: The Birth arrives, the unhealthy intro is highlighted, won't we be treated to this cooked black blood? Ah, the intro drags on, out-of-tune clock noises, a Z-movie sci-fi vibe, prog bliss finally appears; an abrupt breath and 8. Trilogy of Knowledge - Movement I: The Lie ... here we go for the string intro, Scott's violins were well represented on the cover to be played; a compulsive, catchy riff, titanic drums, Glenn's cello is effective, while waiting for Raphael's with LEPROUS; Julianne on soprano brings the necessary sweetness to this epic piece, a mix of extreme genres; avant-garde prog metal with big riffs, with the intoxicating violin, the blood is there before your feet. 9. Trilogy of Knowledge - Movement II: The Truth for Jim's inviting bass inviting you to frolic in the Pennsylvania meadows; a chamber accord with violin and captivating cello to deceive this triptych; a melancholic intro of almost 2 minutes which continues with the contribution of the sound of the first titles; when violence is associated with neoclassical pleasure, when madness mixes with bestial creation; the break with the soft, languid, melting violin solo, a nectar of aphrodisiac notes leading to romantic spleen; enjoyment comes at this price 10. Trilogy of Knowledge - Movement III: The Key with Julianne as an uninhibited siren coming to seek the souls of fishermen accompanied by the intoxicating violin; archaic sound sensation, oppressive climate of some KING CRIMSON, and then and then the frenetic violin-guitar melody refrain starts moving; the title tribute to baroque heavy rock where classical instrumentation comes to wreak havoc in a vulgar death-thrash-hard rock band; the result is this title sprinkled with progressive overtones which throws dismay in the good sense of the term!

5* for this revolutionary triptych!

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