AND WE'RE NOT HERE AFTER ALL

Apparently they aren't

Overhead's third album is a little bit on the lacking side of things. While the music is well constructed and produced the entire thing comes off as very formulaic. While the band certainly has moments of flash they also often come off as a band without their own identity - listening to the album is nothing like listening to a band who has their own unique approach, and comparisons can easily be drawn to other bands who do have that more unique approach. The music is mostly midpaced with the occasional rock moment and the occasional downtime and the vocals are in a familiar ''haunting and depressive'' kind of fashion. Many of the songs run together, and though it's sometimes done intentionally the album can get that ''wall of sound'' feeling rather quickly.

Still, you have to give them credit for making something unquestionably progressive in style. Prog heads will find themselves in familiar grounds with this one, keyboards and guitars make up the majority of the sound along with the accented vocals, and most of the tunes are reasonably long, such as the two-part opener and the lengthy Lost Inside nearing the end. The rest of the tunes sit comfortably in the 6-8 minute range and they develop well, moving on from one idea to the next fairly gracefully. The undeniable standout of the album is the second part of the opening tracks A Method... is the opening song which starts out nicely using piano which builds into an emotional climax before turning into the second part of the song, the wonderful ...To The Madness, which uses a robotic style of singing to blast through the waters with a rhythmic bass section until some spoken word kicks in near the end. Nice. Entropy is another song that deserves a nod, this one being the rocker. Though it opens in a way that is a touch electronic is soon moves into quick motion with the keys and guitar working in tandem, though this song borders on some of the problems that the album has (see next paragraph), it stands out above the rest for some great solos (if a bit Dream Theater-like) and its speedy pace.

However, there's still some things that pop into the listener's head as this all goes on. Who are we listening to here? The band doesn't really seem to have anything going for them that is better than the next guy's. At times there's flashes of music that sound very familiar to Riverside with heavy segments and a dark voice, other times they sound strikingly like Oceansize with more electronic parts mixed in with a haunting voice. Time Can Stay is a good example of this as it opens like an Oceansize tune, only with a more whiny vocal section. A heavily distorted guitar comes in near the end which sounds a lot like something you'd hear in mainstream American rock music these days, bringing to mind something like Hedly or the like. Luckily the piano section in this one is good enough to keep our minds off that as the vocals develop to the climax. Lost Inside is the longest track of the bunch and it has its moments, but in general it comes off as a much longer version of some of the other songs on the album. A Captain On The Shore is a nice closer for the album with its soothing pace and nicely harmonized vocals nearing the end, but in general it doesn't really open any new areas for the band to explore.

While the album has some great moments and it certainly sounds and looks pretty this one is fairly forgettable. However, if you're a big fan of Oceansize and Riverside then Overhead's new album might just pull at your heart strings. 2.5 out of 5, fans will enjoy it, others may want to look elsewhere.

Hybrid rock with low prog calories.

For those who know bands like Funeral for A Friend, Three Days Grace or Hender, you know the emphasis is on the catchy side of the tune. Just like them, Overhead have indeed, a young and capable singer engulfed in a super licked sound all wrapped in a modern production ; all things shiny like a nickel.

Modern and superficial, this album is in the 'diet' bin, not providing a lot to think about. In fact the songs are dynamically dichotomical: pretty but superficial, polished but too often boring. Everything is there for quality, but you forget too soon all this thick layer of highly perfumed hair gel, symbolizing to me a desire to be hip but being soapy and too intense (read FM clone bands). And another annoying thing: the lack of instrumental passages (although nice 15 seconds on track 3). Why the guy's always singing? Too few ideas? Shut up already!

To me it's not far from the supposed 'concept albums' made by FM emo bands, wanting to please the producer and trying hard to be original.

For better results, try Sylvan.

A real nice creation from this Finnish band, who seems to have hit on a good musical track to explore further on this release. Especially the opening one-two punch of A Method... toThe Madness is effective, with a lush, mellow opening that explodes in intensity for the last minute, and continuing over in an intense tune with a driving bassline and a majestic chorus segment, breaking to a totally different mood at the 5 minute mark, eventually finishing with a grandiose version of the chorus again.

The rest of the compositions isn't as strong overall though; although most share a very similar characteristic: They start off as mellow but complex songs with lots of details and generally compelling atmospheres, and then evolve towards harder and more energetic segments. In all instances I found the opening segments of these to be far more interesting than the end product. When that is said none of those tunes are really weak; with the only letdowns for me personally mood piece The Sun and the more synthified atmospheres of Entropy.

In sound this act sounds pretty similar to Sylvan. Mostly due to the vocals; which share many similarities in tone, timbre and delivery, but also the way the songs are arranged and structured is quite alike. The main difference between the bands are Overhead's use of vintage sounding instruments; using flute and organ where Sylvan would have chosen synthesizers.

With this said, an obvious conclusion is that fans of Sylvan should check this out; and fans of Neo-prog with leanings towards vintage art rock may also find this production compelling.

Overhead's second album Metaepitome came without warning and knocked me out when I discovered it in late 2006. It put three thoughts in my head: How can a band this good operate in my hometown without me being aware? I want to see them live as soon as possible! What kind of a killer album are they going to follow this with? The two questions seemed to get some sort of an answer when I finally managed to catch their live show. Apparently not many people in my hometown were aware of this great band since the venue was pretty empty. And to answer the second question they played mostly new unreleased material along with a song or two from their two first albums. Sloppyish performances of half finished songs with stream of consciousness lyrics. Boring middle-of-the-road rock I judged with my dreams of a killer follower crushed. The story continues with them playing a couple of the same new songs on a handful of gigs I saw along the way, and me warming up a little to their potential. Quite good stuff, I said to myself, but still the low points of any gig they did. Then one night they premiered a new song called A Method...to the Madness. Or Brush...Kebab as the working titles were on the setlist. I liked it. After the show I cornered the guitarist Jaakko and expressed my concern that my expectations towards the new album were quite low despite the good song they just played. He turned away, wrote something on a piece of paper and handed it to me saying the unmastered album is at this site, go and have a listen. So I did.

I listened first to the unmastered album and then the mastered version for months until the release date in September when it had slowly made its way to the top of my Best of the Year lists. I remember the first time I put it on while leaving to work, and from the lullaby-like keyboard opening of A Method through the frantic bass grooves driving ...to the Madness onwards and all the way to the final fading sounds of A Captain on the Shore I was tapping my feet along in pleasantly surprised agreement. Over time that agreement evolved into excitement and ultimately pure love after it dawned to me that they had against my expectations really surpassed themselves. I still love Metaepitome worth the five stars I awarded it, but this album feels even more focused, cohesive, colourful and emotionally deep.

The album deals with the story of a person who with no apparent reason feels no joy of life, and that feeling escalates into a complete sense of isolation and lack of faith in life at all. At the worst point he realizes he still has himself to depend on and finds if not a will, at least a consent to go on until he finally gets a hold of life again. Despite the short instrumental The Sun acts as a bridge between the two sides of the album, the real turning point story-wise and musically is Lost Inside and especially the part where the storm dies down and the delicate section featuring a stunning combination of flute and acoustic guitar appears from the rubble. After deciding that life is worth trying they emphasize it with their most straightforward and rocking song ever. On first listens Entropy felt a bit out of place with its synth-heavy soft metal sounds, but over time it has truly found its place, not least because of its brilliant instrumental section containing a particularly radiant guitar solo by Jaakko Kettunen. At times I think it's my favourite part of the album, but then I remember Lost Inside, Time Can Stay and a Method to the Madness which are all totally top notch pieces of work. A Captain on the Shore in its power balladish form is a very good ending to the album and an enjoyable song in every respect, but still seems to fall a little bit short when comparing to the rest of the album. There's their chance of making the next album even better.

After closely listening to their debut Zumanthum a couple of days ago and now a few spins of this one, the thing that strikes me most along with their much improved songwriting, sound and overall performance as a unit is the colossal steps Alex Keskitalo has taken as a vocalist. There are some brilliant performances on his part especially in Time Can Stay and Lost Inside. There are still tiny bits in the first of the aforementioned tracks and Entropy that could benefit from some extra power, but I have no doubt that he will keep building his voice still as he has done to this day. There is a part of me thinking that this is as brilliant an album as they ever can make, but there's always a chance for it. They did surpass themselves this time, so why not the next. I've spinned the album twice while writing this, I think I'll give it one more listen while leaving to work in a minute.

Here we have the third album from Overhead, A Finnish prog outfit that while new to me, has been playing about for quite some time now. Overhead has graced us with a powerful, vocal driven beauty of an album in "And we re not here after all" . A very carefully produced and engineered work worthy of a front row seat alongside many of the now popular and unfortunately somewhat formulaic new guard of progressive rock bands that have followed in the wake of No-Man, Porcupine Tree, and to a lesser degree, Coheed & Cambria.

This is a good album that draws some unavoidable comparisons to other good albums. There have been so many of them lately. A pleasant listen, a spellbinding journey, a brilliant vocalist, keyboardist, guitarist and drummer. How can you go wrong? And of course Overhead does not go wrong here.

If you like your prog sensibly arranged on your plate precisely at suppertime then this album is going to shuffle in your top 10 for sure. But if you are somewhat of a risk taker or have a penchant for the offbeat, artsy and avant-garde then "And we re not here after all" may not get your blood pumping much. My overall feeling is that this record was produced and engineered with an almost clinical precision that left little room for experimentation and/or musical hi-jinks or self-expression.

Putting my personal musical preferences on the backburner for a moment I must say that Overhead's vocalist Alex Keskitalo is probably one of the best singers I ve ever heard and I would hope to hear more from him in the future The arrangements are often beautiful and quite dramatic, and the lyrics are outstanding. All of the musicianship is precise, talented, spot on. My favorite tracks were the 12 minute Lost Inside and To the madness a song which I assume to be pt II of "A method".

"And we re not here after all"... A dramatic, pretty, and relaxing album, unfortunately quite void of quirks, surprises, or inroads.

I quite liked their debut album (''Zumanthum'', released in 2001): a superb epic and great musical moments could be enjoyed all the way through.

I wouldn't be as laudatory about this work, but there is no real harm done either with this third opus. Only that great songs are somewhat absent here. This album is quite wordy and probably lacks in some profound and structured instrumental sections.

Let's consider this as good background music which won't hurt your senses. But they won't kick your ass or sublimate your ears either. A typical ''incognito'' work, some sort of chameleon that here and there attempts to attract your attention (''Time Can Say'' ) with success.

Another good track is the elaborate ''Ost Inside''. It presents some metal lines and a harder vocal style but it shows some fine instrumental parts as well (which aren't that many on this work). Even pastoral fluting can be experienced! It is the more diverse song so far and my highlight.

The last two songs from ''And We're Not Here?'' are quite different from one another: some sort of heavy dance beat music (''Entropy'') and quite a good neo or even symphonic mini-epic (''Captain''). No need to tell you that the latter has my preference.

A good album after all: three stars.

I'm disappointed with this one. Zumanthum had at least one terrific track, 'From Beginning to End' (or something like that), which also was the longest track (20 minutes), plus one quite nice instrumental piece. The majority of Zumanthum either wasn't very much up to my taste but still it pleased me clearly more. Not that their style would have changed much. Energetic, dramatic Neo-Prog played very skillfully, and some flute here and there which I like.

But this time the vocals seem to be a bigger problem for me. Now they make me think of some hard-rock band of the eighties wearing black tight leather trousers and having that 80's hairstyle... Maybe also the playing is a bit edgier, harder, this time. Several tracks start promisingly (for example the acoustic guitar intro on one song is good) but at some point they take a turn I don't enjoy at all. So actually the only track I enjoyed completely was the brief calm instrumental 'The Sun', even though there are other enjoyable moments - they're just marred by the later parts of the same tracks. Sorry guys but no more than two stars from me, despite of good playing and clean production.

If you like bands such as DREAM THEATER, which I believe is one of their influences among Pink Floyd or Genesis, check out this Finnish group (of relative young musicians? - so they seem from their looks at least).

Nice album from this cool Finnish band!

Some years ago this album was offered for review in the collaborators zone, I took advantage of it and download it, but I consider myself guilty, because I totally forgot about it and now, after two years, I am reviewing it. So I ask for my sincere apologies to the band, this is something I had not happened to me before.

This is the band third and latest studio album, but actually was the first one I ever listened from Overhead. The album features seven songs and a total time of 49 minutes. The song that opens "And We're Not Here After All" is entitled "A Method?" which starts like a kind of lullaby, tender notes and soft nuances, but it is progressing and growing with the minutes, until it explodes and becomes heavier, so this introduction works good so I am really interesting to see what is next.

And next is "?to the Madness", that ellipsis suggest that this is the continuation of the first song, though the sound drastically changes. There are bass lines that create an atmosphere of tension, the vocals work well together with the music, and the drums are always nice and constant. There are some nice sounds created by guitars and keyboards. The song becomes actually tenser while the seconds pass, but later when vocals reappear it calms down a little bit, nice song.

"Time Can Stay" starts softer than the previous; even the atmosphere here suggests a moment of calm and tranquility. The sound actually is quite catchy and enjoyable, its softness in some passages may provoke a ballad-like sound, but we know that is not a ballad at all, so don't pay attention to me. After three minutes the sound changes with the appearance of keyboards, but it changes again some seconds later when it stops and opens the gates to acoustic guitars, so later the song returns to its first form. The last part of the song is exciting, creating an ambient of seduction and movement.

"The Sun" is like a short interlude, just one minute of a soft sound that will lead to the next track. So "Lost Inside" begins an eleven-minute song that offers a blend of different sounds and I would say of different prog subgenres. It starts with a soft and warm tune, gently in moments, though there is some nervousness on it, provoked by the bass and the keyboard sound. Minutes later it turns into a heavier song, there are some heavy guitar moments where one can expect a metal-related passage is coming, though it does not really come, actually it slow down again, and later returns to that sound. I like the piano work all over this song, it adds a special flavor.

Another good thing is the use of the flute, after the storm the calm comes, and it sounds like this when the flute and the acoustic guitar sounds. Excellent song!

"Entropy" is an exciting song and it can be noticed since the very beginning, the bass notes and the keyboard work is amazing, because they invite the listener to keep the attention and expect what its coming next. Then a powerful vocal work appears, so now the vocals and the music work perfectly together and create an enormous harmony, I have to confess that I truly enjoy listening to this song, I like singing it and enjoy it from beginning to end. Though it could be repetitive, I have to say that this is without a doubt my favorite song of this album.

And it finishes with "A Captain on the Shore" which is another long composition, but here it does not offer the same excitement than previous songs. Starts softly with flute and easy- listening rhythm, there is actually a chorus that sounds like an average pop-rock band, I don't like that, I have to say it. Its delicate and catchy sound does not really work for me, I would have preferred a song alike to Lost Inside, for instance, because here its repetition does not create addiction, but boredom. I must say I don't really like the way the album finishes.

After reading the reviews, I disagree with some who rate this album low because it is not really bad at all, I must admit I have never listened to Sylvan so I can't say if there are similarities or not, actually I don't care. What I care is that I enjoy listening to this album, it is clear that is not the freshest or most original act, however, in my opinion it is worth listening, there are some interesting songs. My final grade will be three stars. (and a half)

Enjoy it!

And We're Not Here After All released 3 years later after the briliant Metaepitome, this album from 2008 is much less intristing and aswell they change a little bit the direction, musicaly speaking. When I've heared this album I said to mysef, what the heck this is another Porcupine Tree clone album, much moder in sound then the predecesor, less complex arrangements. While the band has it's moments here, specialy on ...to the Madness, the continuation of the opening track, that has some good keybords and guitars and has that Metaepitome feel, the rest of the pieces while are not bad are far from being intristing, at least for me. I do not like this direction band took, maybe they find another target to focus one in this bussines, fans of more cross over prog will enjoy this but to me seems that the band lost the consistancy in song writting. No more interludes between guitar and keys, no more that Floydian space rock that made Metaepitome so great, here we have simply said a moder prog rock album, not far from Riverside in manner of composing. Well I will try and give after some spins 3 stars but not quite there, I was simply shocked in a bad way to here this after the excellent Metaepitome, it was only 3 years for the band to change direction in some way. Not recommended , not really bad either, a forgetable one yes. No highlights here, only tracks no pieces.

So, what's the problem with this album? Well, as a piece of Melodic Rock there is very little wrong with it at all. The songs are well-played, often with catchy hooks, and they benefit from a good, clear production. If the intention of the band is to provide good, quality music in this style then I must conclude that they are successful. To criticise any band, after all, for not playing a style of music that the listener prefers but which was never the intention of the musicians in creating the album, would be unfair. Yet, as I am submitting this review to a site dedicated to 'Progressive Rock' and as I listened to the album with an ear for that style of music, I cannot help but regard the album with some disappointment. Now, 'Overhead's' first two albums were both fine examples of 'Melodic' Progressive Rock. Agreed, neither were examples of 'complex' Progressive Rock in the mode of, say, Anglagaard, but there was a certain inventiveness ? the music included jazz, folk, Space-Rock and hard-rock elements - and development of ideas (even the ubiquitous esoteric 'concepts') across some lengthy tracks and throughout the albums as a whole which lent each a coherent 'Progressive' unity. The amalgam of the 1980'style of 'Neo' Progressive with its focus upon accessible melodic and harmonic patterns and the harder edge of 1990's style Progressive Metal led, in those albums, led to a highly successful outcome. But most of these 'Progressive' dynamics are no longer apparent on this 3rd album leading the music perilously close to what Kevin Holm-Hudson terms 'Prog-Lite'. This is a pity given that 'Overhead' self-proclaim, in various on-line interviews, their adherence to the Progressive Rock project and that their earlier work (and even the musicianship on this album) suggests that they are more than capable of producing high quality music in the 'Progressive' style without needing to embrace compositional complexity for its own sake. It would seem that, unlike most Progressive Rock bands, 'Overhead' has garnered, at least in Northern Europe, some commercial success. Has the lure of commercial success, I wonder, led them in the wrong direction and away from what had earlier lent the band some admirable 'Progressive' credentials? Compare this album to the brilliant contribution to compilation album 'Tuonen tytär II: A Tribute to Finnish Progressive Rock of the 70's' and the point I am making here becomes all the more apparent.