LIGAMENT

"Chemical Escape" begins with a noisy trip-hop stroboscopic foundation, boosted by the invasive bass and Petronella's languid vocals. A syncopated electric tune with an atmospheric Crimsonian feel. "Beyond the Forest" follows with this mysterious track, a duet of Petronella and Mikael from OPETH on a melancholic tune, a depressive MEER with folk instruments such as the cello amplifying the progressive side, a marshmallow-laced LANDBERK of yesteryear. The staccato drum drift magnifies the captivating, nostalgic Scandinavian atmosphere; the vocals return, syrupy, divine. "I Deny" has a Floydian atmosphere, psychedelic with a Greek mandolin, the vocals on BJÖRK, disconcerting. A contemplative piece apart from rock, oozing emotion with the trumpet in the distance, a spark emerging from the darkness. "Ligament" arrives, enraged, vocoded vocals (?), enraged in any case; a sonic maelstrom between electric, frenzy, jazzy, and psychedelia, looking to the East. The sensation of a monolithic, viscous Frippian aggression. "Post War Limina" for its extreme counterpart, a latent, anxiety-inducing sound; a dazed, dark, mysterious air, a feeling of imminent war?

"I'm Letting Go" on the old-fashioned organ, close your eyes, the great KING CRIMSON is before you. Petronella captivates this track, surfing on the progressive trip hop movement, on the works of The Gathering. The warm and plaintive guitar solo with the final choruses is astounding. "Who Am I" is an introspective, meditative tune, with dark bass and Mike's flowing piano, Petronella tearing out words. An ode to BOWIE, a grating, strange tune, on PORTISHEAD. "November" is a jazzy night bar tune, the one where the rain invites itself on the way back. Primary harmonics with melancholic instruments, with a jazzy beat that gives goosebumps: a captivating, languid sweetness. "Last Ones of Our Kind" is a long, stroboscopic, lunar track, with the syncopated beat of the pad alternating with the haunting vocal. The compulsive search for sound and the heavy bass with its swirling instruments give the proven psychedelic impression. The final rise plays with standard atmospheres by offering a laconic spell. "Svart" arrives, darker, a grating funeral march on the vocal flirting with BJÖRK; Disturbing shouted notes remind me of ART ZOYD's gloomy atmospheres, reminiscent of the works of KING CRIMSON during his "red" period.

PAATOS recorded live, amplifying the primal atmospheres. A unique, brutal, animal world, juggling between trip hop, jazz, electro, and restrained improvisation. A raw, distressing sound symbolizing a world adrift, a deep and delicate intimate album. (3.75)

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