METAEPITOME

Friends, I think we should be proud that a newly established Finnish band Overhead which the musicians' age do not exceed twenty-six years old because these young gentlemen would later carry the torch of prog music in the long years ahead as they are still pretty young, age-wise. And this album is the second release after their debut "Zumanthum" (2002). I just received the album about a week ago and was impressed with the musical quality these young lads produce. Yes, there are influences from previous bands like Pink Floyd, Tangerine Dream, King Crimson, Marillion (Hogarth era), Genesis. But if I can sum it up, the music is pretty similar with Lands End or RPWL but with more energy. As I have not listened to their debut album, but I can confirm that this second album has proved that their music composition has reached a level of maturity as the band has successfully combined melodic elements and musical harmonies from various instruments used.

Metaepitome (19:40)

This album opener may well explain what I mean with this album's similarity to Lands End music especially "Natural Selection" album at least on the first part. This track starts out as a fairly complete chord progression that guitarist Jaakko Kettunen brings in his acoustic guitar with the music flow accompanying low register notes voice line. The track builds-up steadily with the augmentation of thin mellotron sounds. Yep, the parts with mellotron work is really awesome. As the music moves at approx minutes 5 plus there is a nice flute work by Alex Keskitalo with rythmic section in the vein of Tangerine Dream, at least on the way keyboard is played in floating style. It's a really nice interplay. What I can summarize about this track is that the music floats beautifully through the acoustic guitar chord progression with some etheral keyboard sounds that project a symphonic nuance combined with stunning guitar solo during interlude. It's really a good composition.

Warning: Ending (without warning) (7:56)

Listening to the opening part you may have perceived that this is a spacey music. Indeed, it is (if we happen to listen the first part). The song moves slowly with some repeated keyboard work followed with drum work as the song builds into crescendo. The insertion of flute before vocal enters has enriched the textures of the music. There is an element of R&B when the vocal department takes its role, beautifully combined with keyboard insert and solid bass lines. At second verse of lyrics, electric guitar fills the music at the back whilst the singer performs its duty. The music increases into louder voice during chorus with "Warning: Ending .." Lyrical part. The insertion of classical piano during singing part is really cool. Overall, it's a simple track but it's enjoyable.

Point of View (5:17)

The third track continues the tradition of using acoustic guitar as main structure of the composition with voice line builds up as the music grows. Electric guitar performs its solo in Floydian style augmented with piano work. Oh man .. I love this guitar work - even though nothing seems too complicated. Prog does not necessarily mean complex, right? Or, am I wrong? It does not seem to matter to me; I come back to my philosophy: music is emotion. So, as long as the music penetrates to my mind and stays well inside, BOOM! I got it man ..!!!

Butterfly's Cry (7:03)

WOW! man . the opening part of this track has made me stunned and has caused my mind paralyzed enjoying the beautiful - and a bit complex - harmony of musical instruments (bass, synthesizer, drums and flute) that work perfectly to construct a cohesive opening. As the music builds up the vocal enters in duo voice lines during chorus. The keyboard solo continues the melody in a neo progressive style. There are actually not much complexity during the lyrical parts but it turns more complex with parts without vocal, accentuated in alternate between guitar and keyboard (dominant).

Arrival of the Red Bumblebee (2:16)

It's a mellow track that combines piano solo combined with mellotron work in floating style. A nice instrumental that serves nicely as bridge to the last track.

Down (16:22)

This concluding track starts off with guitar fills reminiscent of Steve Rothery works with Marillion's later album (Hogarth era). You might find this guitar fills in Hoildays in Eden album of Marillion. The music flows in medium tempo reminiscent of Lands End music. Hackettian guitar augments the music that accompanies voice line. This track is too long as the music flows relatively flat from start to end with no (or relatively few) tempo changes. It's probably composed like the way space psychedelic music is like. But for my personal taste, it's boring because there are many repetition of melody. So I'd better stop this review as I'm getting bored with this "elongated" composition. It's a regret that this album is concluded with this track even though it's not bad at all.

Overall Summary

Overall, I still consider that this album is very good, evn though not essential. The band has successfully created excellent composition, blending such elements of psychedelic, space music and symphonic prog into a good harmony. The fact that the concluding track is composed differently seems to me like a loose end of this album and it reduces cohesiveness of this album. But this band has a promising future in the years ahead. I'm sure about this. For those of you who want to enjoy a blend of neo prog and space psychedelic music, this may fit to you. Keep on proggin' ..!

Progressively yours,

GW

Three years after their debut CD entitled Zumanthum (from 2002) this Finnish band came up with this successor. I read many positive reviews and stories about Overhead so I was very curious to this new CD. Let's analyse it song by song.

1. Metaepitome (19:40): This long titletrack starts with acoustic gutiar and melancholic vocals, then a mellow eruption featuring Floydian slide guitar and pleasant keyboards like organ and the Fender Rhodes electric piano sound. The dreamy climate is wonderfully coloured by majestic violin-Mellotron waves, followed by compelling bombastic prog delivering powerful organ. Then we can enjoy a varied and tasteful 'progrock stew': an exciting break with propulsive guitar chords (between Pink Foyd and early Twelfth Night), a fiery guitar solo with howling licks, a sensational synthesizer solo, a piece with metal riffs and sparkling piano, classical piano and dreamy vocals, soaring Mellotron with fragile piano play, concluded with the sound of the intro: twanging acoustic guitar and warm vocals. What a way to start an album, such an alternating and tasteful progrock!

2. Warning: Ending (7:56): This track sounds totally different from the first! First slow, then more and more compelling featuring swirling flute play. Suddenly the climate shifts to cheerful delivering modern progrock inspired music. In between some pieces with classical piano and dreamy vocals. A very varied and surprising one!

3. Point Of View 5:17: This composition is build upon very compelling, beautifully build-up guitar soli (from sensitive with volume-pedal to howling and fiery), supported by lush organ, wonderful!

4. Butterfly's Cry (7:03): A swinging rhythm featuring flute, powerful bass guitar and fluent organ waves. Again it sounds modern, far away from the mainstream progrock but still progressive. In the end a spectacular synthesizer solo, a nice musical idea.

5. Arrival Of The Red Bumblebee 2:16: A short, instrumental piece delivering sensitive piano and soft Mellotron waves, very mellow in comparison with the other tracks.

6. Down 16:22: The final song is a pleasant mix of many musical styles, again far away from the maintream progrock but for sure it sounds progressive! The keyboards are electronically inspired, the guitar howls, the rhythm-section is propulsive and the vocals contain a melancholical undertone. Very tasteful but so different from the first track, almost another band!

I needed a few turns to get into Overhead their music, not every song is my cup of tea but to me Overhead sounds like a fresh and inspired progrock band. If you are up to their varied sound, this musical chameleon will delight you!

2.5 stars really!!

Second album from one of the latest Scandinavian-associated (Finnish) group that specializes in a sort of retro-prog, even if this is more of a Swedish/Norwegian tradition than these ever-crazy Finns. This quintet (standard prog quartet plus a singer/flauter) is creating some rather run-of-the-mill prog that has been heard hundreds of times before, often resorting to 70's reminiscent sound and worse, the occasional shameless borrowings. A rather average artwork for an unremarkable album would seem to be the quick judgment, if Overhead did not have a few trumps up their sleeves, one of them being that the group does try to sound more modern than their peers. I got to listen to this album over the course of three months as I received it on loan from a buddy, but I must say that I returned to it a few times more on self-imposed obligations (rather than by pleasure) as I simply failed to recognize the merits my friend was hammering to me.

Right from the first notes of the opening self-titled "epic", the listener is warned that a thorough trip inside his nostalgia mixed with more modern sounds. Maybe this huge rip- off from Purple's Child In Time (or Bombay Calling if you wish) around the 10-min mark (but hints of it had started as soon as the seventh minutes) is upsetting me every time I hear it (the sad part of it is that it is from far the better moment of the song), but I find that the same old Neo-prog "ritournelle" (same old song >> and dance my friend ;- ) comes back. Can't help but thinking of early-Hogarth Marillion, Valinor's Tree, RPWL, Land's End (thanks Gatot, I couldn't put my finger on it), Versus X (the piano moments) and a few more like Discipline etc. Some of the shorter tracks filling (literally as well as figuratively) the album's middle section are quite unremarkable, borderline noisy and irritating (only Warning finding some grace to this writer's ears) until we get to the second epic Dawn. This second epic is carried out on a semi-metallic guitar riff until a lengthy instrumental passage where guitars and keyboards entwine, before the vocals takes over and finishes the track (it does die out beautifully, though). Although once again there is nothing unpleasant, I am particularly shaken to see that so few things are happening in such a long time. I am a little surprised to have heard so few flutes though.

More Neo than Retro, Overhead's second album is nothing you haven't heard before (except maybe for the subtle Child In Bombay Calling Time rework ;-) and although there I am sure all five musicians invested vast amount of time and labour of love (and most likely hard-earned money as well), this old pagan has not been able to appreciate much of it. Shame on me, maybe!! Some of you are wondering what I'm still doing reviewing albums in a style I don't particularly appreciate, and I can only answer: 1- I'm trying to keep up with the modern actual scene 2- checking out the hype around these newer groups (and I had heard lots about this one) 3- filling out my curiosity as I still hope to find a masterpiece in this genre 4- publicly exhorting/exorcising my shameful lack of understanding of such oeuvres. For the Neo-prog fans, I have no doubt this album is much worth the listen and investment, although I am not sure they would call it essential. At least I don't.

I suppose this is technically neo-progressive, but it certainly seems that the lines between metal, heavy/art rock, and neo-progressive have become quite blurred in recent years. Ever since Opeth discovered that music can be evocative even without growling, and that dude from Green Carnation went unplugged, and After Crying went ‘overground’, there seems to be a plethora of ‘sensitive’ metal bands on the landscape that put out beautiful music that still manages to be forceful and decisive.

And this band does just that, beginning with an epic length masterpiece of simple and unquestionably progressive music on the opening title track. The Fender and organ are dazzling in their easy cadence and in the surreal mood they set behind the throbbing bass. I don’t particularly care for the drums on this track as they seem almost perfunctory, but otherwise this is a great neo-cum-metal tune which has vocals that can actually be understood without the liner notes (which is always a plus for me!). Awesome guitar work as well, especially in the middle section, and the acoustic guitar and piano fading ending provide a perfect finish.

“Warning: Ending (Without Warning)” is one of the more melodic metal tunes I’ve ever heard, well-constructed, engaging and almost reggae at times, and even despite the slightly cheesy choral vocals and the weird minstrel-like passage at the end, this track provides some interesting variety.

The best guitar work on the album comes with “Point of View”, long whiny riffs full of inflection and emotion. This is the kind of ‘guitar god’ stuff that makes music worth listening to – Jaako Kettunen is excellent and expressive without seeming to need to demonstrate just how fast he can play or how many variations he can squeeze into a single tune.

Same goes for “Butterfly's Cry”, except that here the drums are quite interesting with an unusual rhythm, while the vocals could have been spared as far as I’m concerned.

“Arrival of the red Bumblebee” is a short instrumental that reminds me very much of the first After Crying album, but it seems the production is a little bit lacking here as the piano gets fuzzed a bit at times.

The closing “Dawn” starts off sounding like an Alan Parsons tune with a heavier rhythm section than Parsons usually employed, but with nowhere near as good of vocals as most Project albums had. This is a rather weak track, and was probably extended unnecessarily long in order to bring this to proper album length.

A pretty new band that I don’t know much about (another one of my kid’s discoveries!), but overall I think this is a very enjoyable album, and I would enthusiastically recommend it to most metal and neo-prog fans. Closer to four stars than three, but not on-par with most other albums I have given four stars to.

peace

OVERHEAD's "Metaepitome" is one of the most enjoyable albums I've heard in a while. I think that it ends a little bit short of being a true masterpiece, mostly because of the derivative factor.

The Finnish band has no shame in showing their progressive roots throughout the whole record. This is one of the most honest prog albums I've listened to lately, with a group of musicians that choose to play very long songs, with several tempo and time signature changes and unusual structures, all trademark elements of the classic definition of progressive rock. That OVERHEAD's instruments of choice happen to be the mellotron and the flute, among others, is just a normal consequence of their love for retro-progressive rock.

The music can well be described as atmospheric, spacey, always moving, always flowing like an endless wave of liquid musical energy. The band pays sure homage to PINK FLOYD, one of the genre's biggest legends, constantly evoking their sound and emulating several of their techniques. The albums sounds very floydian because of this. But this is a more modern version of the classic. At the same time we're invaded by contemporary sounds and effects, rhythms that belong to the era when the impossible has been already conquered. There's a strong pop/rock sensibility running under the progressive bloodstream of the music. The "indie" flavor of the record is clear, and it shows very clearly on the vocals, which remind us of other indie/prog-rock artists like THE DECEMBERISTS. The music, on the other hand, takes influence from other bands like HAWKWIND and, in consequence, with another Finnish band, AMORPHIS. We can feel the same cold, the same freezing sensation by listening to OVERHEAD as to said metal band (in fact, "Metaepitome" borders on metal at times.) Other influences that constantly show through are neo-prog bands like MARILLION (Hogarth era) or prog masters GENESIS, as well as more modern acts like PHIDEAUX.

Without a doubt, the best tracks are the gigantic opener, the title-track, and the second song, "Warning: Ending (Without Warning)". Here we have an introduction to all the great faces of OVERHEAD: very floydian, classic-progressive in the former, more contemporary, even electronica in the latter. From here on, the music maintains a constant high level, even though at some points it starts repeating itself.

My only problem with this otherwise-brilliant record is my opinion that at times it sounds too-much like it's trying to sound like something else. The influences show and sometimes we feel we've been there, done that before. But that doesn't take from the fact that the musicianship is incredible, the melodies are fantastic and the disc is ultimately an extremely satisfying experience. For that reason, I'll give it 4 stars over 5.

I have a deep admiration for prog from Finland, with prized older stuff like Wigwam and Tasavallan Presidentti, more recent releases from the magnificent The Giant Hogweed Orchestra, Groovector, Viima and Hidria Spacefolk in my collection. I had therefore high expectations for Overhead, especially audacious when kicking off an album with a title track that clocks in at 19.40, a somewhat sultry embroidery of various influences, spooky space groove mixed in with great symphonic details, a incisive guitarist in Jaakko Kettunen that uses his clever fingers adroitly both in riffs and soloing, Tarmo Simonen handles piano and various keys with controlled effect, Janne Pylkönen drives a nasty propulsive bass and complements the soft/hard display by drummer Ville Sjöblom. The vocals are a bit problematic for me as Alex Keskitalo obviously comes from harder rock schooling and I just can't really get a grip on it. The whopping title track does create a compelling mood, full of contrasts with hard walls of guitar, jagged edges as well as gentle ruminations and dreamy passages that evoke, spellbind and stun. The subtle piano in particular is used as a moderating medium, weaving ornate sonic architectures, increasing the drama by adding majesty to the arrangement. The final segment has a plunge into heaviness that arrives suddenly and effectively, raising the level of grandeur without falling prey to typical metal clichés, pushing the music along towards some kind of release. A fantastic piece of epic prog music. Bravo! The next piece "Warning: Ending" covers a completely different spectrum of sound, this time letting bubbling electronics rule the sonic waves, rustling flute competing with riffing guitars, pushing the theme along relentlessly, the bass reptilian, the drums shuffling madly. The vocals are very contemporary, which means it is a bit weak to my ears, seemingly devoid of power and assurance (Galahad's Stuart Nicholson would have been a serious upgrade here) and flirting with distraction. The massed choir effect is also not a success, very stereotypical but the music is certainly very acceptable. A stinging guitar solo adds some nice spice to the mix, the piano waving a goodbye. Another sizzling highpoint (sic!), "Point of View" has acoustic guitars pinging gently while Alex' vocals are seemingly treated, making them actually pleasant. The lyrical Kettunen fret solo is a simmering triumph, with a variety of unusual "axioms" squeezed out with the phrasing, toying with the various volumes and effects; this is damn fine emotional playing. "Butterfly's Cry" is a bass-fueled rhythmic dance that succeeds in being inventive, introducing savant drum fills, twist n' turn organ forays, a well-thought out fluttering synth solo and somewhat oblique guitar work that are left cold because of a useless vocal that is bland and weak . Alex is good singer perhaps but not for this kind of material, here it becomes very self-evident. The next short instrumental track should have been stretched out more, as it contains wonderful promise that is left unfulfilled; Simonen's piano is pure joy and majestic splendor, so why cut out so quickly, damn! "Dawn" is another extended 16 minute epic, a groovy bass-led fantasy, simple but effective, correctly identified by a PA colleague (clemofnazareth) to be similar to Alan Parsons (referring to classic I Robot tune "the Voice" perhaps), with zooming synthesizers, cascading guitar chords, all held together by that unrelenting supreme bass riff, with Alex' vocals actually very a propos here, almost a hushing delivery. I happen to enjoy long groove tracks that noodle onward as long as the bass rules, no problem! Fans of Hawkwind, Eloy and other space cadets will enjoy this track and most of the album without a doubt. All in all, a good addition that could have been simply masterful with a few small changes, an improved vocalist with more oomph would have helped on most tracks. 4 frozen lakes.

Their first album ''Zumanthum'' was quite a good surprise for me and I was very enthusiastic to listen to their second effort.

This album is a more easy listening music, but by no means it should be regarded as a weak album. As usual, the band is playing quite long songs but it is true to say that I couldn't find the grandeur of ''Beginning To End'' from their debut. But this was a damned good epic!

In terms of epic, we have two of that kind in this follow-up work.

The title track takes while to kick off but it is quite melodic and the heavy organ featured in the second leg of this song is quite enjoyable. I'm quite confused though, when I read that this should be a rip-off from the great ''Child In Time (which WAS a rip off from the Californian band ''It's A Beautiful Day'' and ''Bombay Calling'' was the track). Still, I do share the feeling with Hughes that this piece of music has a whole damned lot to do with the neo- prog genre. But on the good side, I would say.

The following track opens on a brilliant instrumental part: a wild Tull should I say. Heavy beats and a remarkable flute part: gorgeous to tell you the truth. What follows might not be on par but this intro is a killer. Unfortunately, there will be only almost heavy metal noises afterwards (oooops sorry, this is called progressive metal now ?).

Things are getting a lot better with ''Point Of View'' which shines thanks to its sublime guitar solo. This passage is a definite highlight . The neo-prog feel is even more obvious during the intro for ''Butterfly's Cy'' (hi Tony)?

I am pretty sure that if the band had not released their very good ''Zumanthum'', it would have been easily categorized into the neo-prog style. The second (average) epic confirms this feeling IMO. It sounds as déjà vu and offers little astonishing moments.

''Metaepitome'' is not on par with ''Zumanthum'', that's a given. But it still remains a good album which I rate with three stars.

Another album that is right there between 3 and 4 stars as far as i'm concerned. OVERHEAD are from Finland and this is their second album. I think it's a little inconsistant but there are some amazing moments.

The opening self-titled track "Metaepitone" is my favourite. Acoustic guitar as reserved vocals join in. It gets fuller but doesn't really kick in until before 4 1/2 minutes where we get some power. It settles again but contrasts continue. It's FLOYD-like 5 1/2 minutes in. The guitar solo before 10 minutes goes on and on. Synths after 12 minutes then it's heavier again.The song ends as it began.

"Warning:Ending (Without Warning)" is kind of spacey early then it kicks in before 1 1/2 minutes. It heavy with flute. Vocals 2 1/2 minutes in as it settles some. Multi-vocals after 4 minutes. I'm reminded of ACT at times here. "Point Of View" is acoustic guitar and reserved vocals until this lazy bluesy guitar comes in and takes over. The vocals are back late. "Butterfly's Cry" is led by bass, drums and keys. Vocals and organ after 1 1/2 minutes. "Arrival Of The Red Bumblebee" is a short piano filled track. "Dawn" builds in stages early until the vocals come in around 2 minutes. I like the guitar especially around 12 minutes.

A really good album that just fails to hit 4 stars. 3.5 stars it is.

Yes, this is one of my fav albums ever

Second album Metaepitome from 2005 of finish progressive rock band named Overhead is an excellent example of sheer greatness in this style. I find it great from start to finish, having one giant piece clocking around 20 min, the title track is the best band ever done in their career for sure. I like a lot the contrast and moods this album offers and specialy this piece, from Floydian atmosphere to a more metalized sections towards the end of the piece, with brilliand songwritting, nice guitar and in same time very intristing passages and above all some of the most great arrangements on keybords I've heared in last years, simply amazing, definetly the cherry on the cake here. Another highlight for me is Point of view with fantastic guitar chops in the last part of the track made in Jaako Kettunen, excellent again. The album ends with another long piece Dawn remind me in places with Marillion, specialy on guitar parts , but again this band from Finland done a fantastic job, no wonder that this album is the highest rated from all 3 released by the band, is their best by far and one of the most intristing I've heared coming not only from Finland but in general. I was simply blown away buy the musicians songwritting and how easy they handle the instruments. Overhead can go from slow mleancholic passages to a more up tempo with amazing ease, a thing that must be laudatory on this album , because has no faults at all, maybe the voice is less intristing for me in general , but overall this album must go highly recommended. 4 stars, kick ass release.

Metaepitome, the second album by the Finnish prog band OVERHEAD (released by the French label Musea) has got very warm reception here, though it's now already four years since the last review. In my opinion here Overhead are at the peak of their musical expression, but undoubtedly the more Metal-oriented listeners can say that they have improved further since then. It's all about tastes in the end.

Nearly an hour long album starts gorgeously with the (nearly) 20-minute title track that contains slight PINK FLOYD influence. Thematically it's a bit cryptic in its metaphysical view on everything, but actually I haven't paid much attention to the lyrics anyway. The long piece succeeds perfectly in maintaining the emotionally powerful mood. There's a good balance between the instrumentality and vocals, and plenty of dynamic variety.

Rather clumsily named 'Warning: Ending (Without Warning)' reaches towards the aggressive metal-oriented style on the choruses while there's also soft, key-centred soundscape and some Crimsonesque angular complexity. The sad-mooded 'Point of View' starts delicately reminding of bands such as PORCUPINE TREE, as if to burst into loudness at any moment, but to my pleasure it evolves into a superb, long electric guitar solo... okay, in the end the song turns heavier.

'Butterfly's Cry' is a fast tempo song with some JETHRO TULL reminding flute here and there. The vocals perhaps try to be too versatile; I prefer the instrumental sections. The next short track is then wholly instrumental, an elegant and atmospheric keyboard piece. The final epic, deeply atmospheric and suitably Floydian 'Dawn' (16:22) is the ultimate highlight for me, as I said already in my review on the DVD "Live After All". Metaepitome is among the finest Finnish progressive rock albums from the early 2000's.