THE CONSTANT VOID

"Intro" cinematic, short, animated city background, a latency and "King of Fools" bursts in, drum kit raging, guitar shearing with Domenik coming to twist everything with his chopped voice; supercharged, melodic heavy prog metal. The break features in turn Andreas, Alex then Tobias on a sustained prog space, closer to just heavy; a big tonic ballad, a snarling but melodic vocal, so as not to stress the aging prog. Note the text on the need for tolerance. "The Forgotten Part I" starts on the DREAM THEATER in their heavy phase, with the heavy, metallic guitar; it was only an intro because the acoustic and the piano take position. Story of Gaia angry at her human sons hurting her. The piece starts again in fury, the elements unleashed. The guitar variation, oozing with melancholy, moves before launching into a torrent of embers accompanied by Tobias' keyboard. "Inside His Room" has an Olympian gait on HELLOWEEN, bordering on the gritty hard rock. The intro brings the calm vocals and a restrained air; the sharp guitar solo calms the ardor before the electric finale. "Will You Remember?" a latent intro, yes OCEANSIZE for the post-rock psychedelic atmosphere; the slide guitar and the captivating vocals before the apoplectic rise. A tenuous crescendo, voiceovers before the final metallic ballad with hoarse voices, on SYMPHONY X. "F 40.8" with Vibram SHANKAR, yes EVERGREY, SILENT SKIES, REDEMPTION, Max ENIX, in short, a well-crafted instrumental with the fluffy keyboard and the airy guitar, Sebastian's bass keeping the rhythm. Reminiscent of our national Patrick RONDAT.

"Underneath Grassroots" on a radiant, latent electric base, whispered KISS vocals, delicacy of reverberating notes. The outro on the syrupy synth for the nostalgic ballad. "The Fall" now with the repetitive, melancholic air, quickly erased by the energetic rise and the latent climate of the keyboard. The second derivation with the soaring synth and the aerial guitar amplify the grandiloquent side of this piece with these demonstrative pads. The crystalline piano-keyboard drift moves away from prog metal for a while and makes you want to replay. "The Forgotten Part II" with the religious cinematic, storm and church choir; a rise in power, on SYMPHONY X, the piano on SAVATAGE, immense with the Dantesque riff starting this 20-minute title; the keyboard in the background adds depth to the piece, memory on ETERNITY X, SAVIOUR MACHINE. A spacey, tribal break with Rob Leland's spoken word announcing the calamities of Mankind over a melancholic, neoclassical air; a return to hard metal with SONS OF APOLLO to explain the power of the drums and the furious guitars. The shouted vocals flirt with a bubbling growl; the tune deviates into a compulsive space, a machine gun with explosive bullets. The solos arrive, guitar and keyboards for the solemn, joyful progressive moment; the notes spurt out, burst forth from everywhere, and create a feeling of well-being before ending on a final vibrant note, harassing the hypnotized, trance-like ear.

PHILOSOPHOBIA: heavy, melancholic, modern progressive metal with hints of DREAM THEATER, PAIN OF SALVATION, THRESHOLD, and KAMELOT. A confirmation that amplifies all the good things I wrote about the eponymous album. Originally published on Profilprog.

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