TELEPATHIC MINDS

OVERHEAD founded in 1999, quickly inspired by prog giants such as PINK FLOYD, GENESIS or KING CRIMSON with refined melodic music, a clear and powerful voice, breaks where the flute takes its place, RUSH, DREAM THEATER and floydian breaks . An innovative psychedelic sound at times, heavy 70's in 2020. A double album, like in the good old days, in short, let's dive into this 6th double album.

CD1: "War to End All Wars" sympho hard prog intro that moves, just enough to give vocal space to Alex with his flute that slots easily; it goes up, it breaks on voice-overs, it's complex; it takes several readings and Alex uses his flute wisely; an instrumental on organ à la DEEP PURPLE, THRESHOLD as in the good old days, breathtaking before returning to the central air and Jaakko who releases a moving solo, on the border of hard, prog metal, a bluesy touch; in short, a must already. Sound reminiscent of the flights of STRATOVARIUS and SYMPHONY X of the great era, grandiloquent. "Ghosts from the Future" in two drawers on a warm intro, Alex modulates his voice on a psychedelic rise, lament that makes you shiver; break in the first third with heavy guitar and flute riff that goes much better in the studio than live. Riff à la BLUE OYSTER CULT, oriental flute solo, it's well done, the keyboard also twirls; the second atmospheric break with drum roll, the epic and symphonic side of metal emerges, go for an Andalusian arpeggio now and the heavy, metallic tune resumes for a vibrant crescendical finale. "Sail Across the Universe" riff and flute, yes reminiscent of JETHRO TULL; his AOR with aerial riff, break growl and muscular dithyrambic attack; it speeds up Alex fills the title with his very particular voice, Jaakko's solo wants to be crystalline, lively and captivating, its stunning. "The Pilot's Not Fit to Fly" on a melodic ballad, you'll laugh I thought of SADE's hit! Langoureux, always this AOR connotation which goes well between neo and heavy, flute which rolls and rolls for a long time; second part which highlights this fabulous guitar held by Jaakko, very knowledgeable pulling heavy notes with smoothness, almost too simple. "Sleep Tight Sweetheart" country western spaghetti tune, slide sweetness and psychedelic pop vibe; the guitar wants to be bluesy during a long solo taken as a musical framework.

CD 2: "Telepathic Minds" in 5 parts, conceptual river title on Life, musical atmosphere flirting on the OVERHEAD sound of today made of FM rock, prog metal and prog atmo-electronic tricks where the flute is ideally used, bringing warmth and reminiscences of the past. Alex channels the title through his borderline phrasing, hypnotic, plaintive vocals; the mid-term break with the whiff of a VANGELIS 'The Apocalypse of the Animals' for the emotional touch, a Gary MOORE-style guitar solo which shows the extent of Jaakko, a real 'beast' to think musico-solo-finger of 'elf! Last break on a touching Floydian background. "Tuesday That Never Came" for the single released in preview which in no way reflects the atmosphere of this double album; a moving rise that refers to the rock FM ballad of a Bon JOVI for example. "Planet of Disorder" Jethrotullian flute and Rainbowian riff; ballad with Alex who puts himself forward as much in vocals as in breath; the guitar solo on BLACKMORE, strikingly realistic and the flute to remind us that the sound is that of OVERHEAD, quite simply. "Sheep Stay Silent" electro intro that changes, its Kashmirian riff, jazzy-country-oriental break, hilarious, second break with a heavy metallic riff like METALLICA, that's to say; finale which returns to the languorous ballad; the best of the album for me. "Almost Always Near the End" concludes this thundering set with juicy, symphonic synths; flute jamming, air-hymn to get high, throwing an endless jig, and I see that after violins, trumpets, cellos, flutes can also be progressive.

OVERHEAD therefore releases a musical slap, that's said. A clean sound, through the singular voice, the flute, instrumental parts with keyboards and guitar solos; an album where the progression is done gradually, from the intro, on the breaks, on the atmosphere in general; on groovy riffs, on a rhythm that hooks from the first listen. A sound that stands out, which evolves, which does not hesitate to juggle different atmospheres, eyeing the old but showing a recent range for the rhythms generated. Texts on this inevitable pandemic which never ends, music... which never ceases to upset me over the course of my many pleasant listenings, it starts well 2023 with an OVERHEAD which evolves well and transcends itself.

Finnish prog veterans Overhead explode with 90 minutes of heavy prog. Buckle up and get ready for the ride!

1. "War to End All Wars" (8:43) bombastic opening is quite reminiscent of a lot of other NeoProg bands' songs. Settling down into guitar and synth support for the vocal entry is classic prog-by-numbers. I like the chunky bass being so forward in the mix. The drums sound nice but are perhaps mixed a bit too forward. Nice melodies--quite similar to The Flower Kings or RPWL. Odd little pseudo-1980s-metal instrumental passage in the sixth, seventh, and eighth minutes displaying proficiency but lacking any originality. (17.5/20)

2. "Ghosts from the Future" (12:41) I mean, it's competent music and musicianship--and contains plenty of bombast and drama--it's just that the song lacks interesting things like hooks and melodies. The flute and choral vocals are about the only things aside from the STEVEN WILSON-like final 90 seconds. (21.5/25) : - i) Endless Sleep - ii) Last Chance to Bail

3. "Sail Across the Universe" (8:22) unremarkable 1980s-influenced heavy prog using rather mundane vocabulary (in English) to try to express some grand/profound ideas. Nothing very memorable here. (16.75/20)

4. "The Pilot's Not Fit to Fly" (9:19) blues-rock that sounds like ATLANTA RHYTHM SECTION or CHRIS REA. Even the melodies and guitar play sound like the above-mentioned artists. Very pleasant Yacht Rock. (17.333/20)

5. "Sleep Tight Sweetheart" (5:50) some IZZ/GRAND STAND-like music with a Steven Wilson/David Gilmour vocal over the top. Both are a little too simplistic and derivative to garner any attention or praise. Not much instrumental flash or prowess on display. Good sound, though. (8.75/10)

CD 2 (44:10) 6. "Telepathic Minds" (17:18) one of my other top three songs. (32.125/35) : - i) Hypnotized - very nice, genuinely emotional vocal performance (9.5/10) - ii) Random Honesty - nice transition into a more 1980s heavy pop sound. Well composed (with all the hooks required of a good radio-friendly song) and recorded. (9/10) - iii) Telepathic Minds - opens with some guitar riffing announcing a kind of GUNS 'N' ROSES energy before moving into a Peter SCHILLING-sounding vocal. Forward-driving without being too aggressive or clichéd. (9.25/10) - iv) Back in Time - an instrumental journey taking off from the final "back in time" lyric from the previous section but then turning quite syrupy soft (with a pseudo-jazzy Fender Rhodes foundation!) power ballad. Nice bluesy guitar solo over the Hammond organ in the middle, but, overall, this is just a little too syrupy for me. (8.875/10) - v) Reprise: Home Again - a reprise of pretty much all of the suite's themes--like an overture! (4.5/5)

7. "Tuesday That Never Came" (4:04) I like the opening--especially the breathy vocal that Alex uses but also the layers of delicate guitar play. When the band moves into a heavier, plodding variation of the same theme at 2:08 I find myself at first annoyed but then, with consistency and repetition it all becomes comfortable and enjoyable. I must say, Alex's "backed off" vocal approach feels much more "real" and heart-felt--even vulnerable. A top three song. (9/10)

8. "Planet of Disorder" (7:18) heavy jungle rhythms with breathy flute open this one. When the vocal joins in there's an effect on Alex's voice that, for some reason, make me feel I'm in a room between a SYLVAN and KING GIZZARD & THE LIZARD WIZARD. One of the more engaging chorus motifs on the album help keep me interested--as does the interesting background synth play throughout the verses. The metal lead guitar flourishes could be dropped. There is a very pleasant, even pretty, pastoral flute and acoustic guitar section in the fourth and fifth minutes before the band returns to the NeoProg patterns from the rhythm section. Weird muffled guitar solo in the sixth minute is almost drowned out by being mixed so far back in the sonic field. (13.125/15)

9. "Sheep Stay Silent" (7:45) interesting opening sound like a mix of electronic sequencing, LINKIN PARK, and STEVEN WILSON which eventually moves into a more METALLICA/SW slow chugging with some weird Caroline ballad lyrics. (12.75/15)

10. "Almost Always Near the End" (7:45) This song feels like an awkward, almost forced blending of incompatible sounds and styles never really drawing me in (as much as I try). It does have a nice SYLVAN-like ending, though. (12.75/15)

Total Time 89:05

I've had this album since it came out in April but have found it quite a challenge to A) feel interested enough to listen to it start to finish and B) find the time (or desire) to want give it that kind of attention. 90 minutes is a lot of time to dedicate to listening to music (unless you're really loving the music).

B/four stars; a very nice contribution of varied though 80s power rock-oriented progressive rock music. Check it out for yourselves.