KADATH DECODED

Quite a remarkable exercise by this proposing German band. "Kadath" is a rare and unique piece of work that certainly takes off pretty intriguing and devouring that there's nothing the listener could do, but to get captured in between this dark, evoking music. Opening track "Dream Sequence" instrumentally reveals such an enigmatic passage to indescribable musical experimentations, so impregnated of mysticism, of sorrow and peacefulness that irradiates geniality. The three-way conversation held by this sober piano, a lingering flute and the background chords set, is absolutely a display of energy and passion, so imperceptible by the common ear, it secretly lightens a pathway to welcome the second intromission of this well elaborated album. "Sunset City" is quite a sequel to the first act previously shown, with another continuous piano interlude, this time seconded by a peculiar acoustic guitar that meddles somewhere in between the synthies and this unpretentious bass played quietly by Martin MANNHARDT. The acoustic guitar carries on spreading the pure essence of the ambiance created, where the percussions become more and more captivating, wrapped up in shades of strings and compassed chords.

The vicious crunchy guitars aren't displayed until you get to "The Cavern of Flames", where Haluk BALIKCI sings impetuously the provocative story of chapter three contained on this album. The challenging, defining moments of this latter half of the nineties creation, start to reveal onward. It is practically inevitable not to notice the conceptualization this haunting piece of work proposes all along its twelve episodes. It certainly doesn't lack of initiative or argumentation, the instances to achieve uniqueness here are entitled by the individual execution of the instruments and the exploitation of the same. The piano and synthies taken away majestically by Tomas TUREK, the guitars and flute performing in charge of Jan SCHRÖDER and his creativeness and the additional features, obviate the mystery hidden on "Kadath".

When taking on the rest of the track listing, you might as well would like to pay close attention to the versatility and innovation displayed on such pieces as "Within the Vault" (that describes an intrepid way of playing piano) and "Reaching Kadath" (a deep, purist track, which contains most of the explanation of why the album was conceived in such way from the get-go). The alternativeness showed among "Nyarlathoteps Reception" and "Finale: Sunset City part 2", is definitely unforgivable to lose. The perception of oneself becomes thicker throughout the entireness of this album, according on getting yet another dosage of PAYNE'S GRAY right back from the beginning.

Part two of the productions released by the Germanic musicians, accomplishes quite great its mere intention and initial purpose. It's practically impossible not to relate this specific work to what's already been done by some other German progressive metal bands like SIEGES EVEN or SUPERIOR, since there's a thin line called "relativity" that unites them by the insides. In spite of the comparisons and the appealing characteristics, "Kadath" remains intact before the eyes of introspection and surprising. Deservedly, the four starts sustaining the "excellent addition to any prog collection" variation.