OUR STORY ABOUT YOU

Finally, a metal album that brings multiple genres to the table!! Too often I hear Symphony X clones, Dream Theater clones, but here, it's a whole different beast. It's refreshing. Accordion, synths, chunky guitar, xylophones, mellotron, anyone?? For an exceptional album that holds my interest throughout, I desire multiple instruments. I know, I'm picky. And there's plenty of diversity (through the instruments, at least) to be showcased here. From the brooding, quiet, almost-ambient techno-metal opener Exile, the fun Kaleidoscope, the stunningly-beautiful guitar-sliding, piano-gracing Gently Broken, there's a little bit for everyone. That's where the diversity ends, though. Yes, the accents are a bit thick, but I don't mind. There's plenty of effects/modifications that makes Mert's voice always appealing, and credit's due for conveying emotions through his many pitches.

Exile starts us off, unlike anything I've heard before. A heavy trance-induced song with a repetitious drum pattern (are those drums??) This builds slowly, but never quite reaching a peak. Until?

Suddenly comes on; a drum-slamming, accordion-playing romp. I must say, I've always admired accordions in metal music, though it certainly isn't common. I think back to Beardfish's "Coup De Grace," probably my favorite track from the band. Anyways, back on track, things get quiet, only a minute later to belt Mert's vocals, synths, (and what great synths they are!) and a hint of xylophones. The vocals are an acquired taste. After a few listens, I've realized there's power to each word he sings.

Yesterday, Today, Tomorrow is a relatively shorter track, and doesn't quite reach heights till about minute 2. In those last 2 minutes, the musicianship is stellar; everything is in-sync. Each strike of the cymbals is reflected by the guitar, increasing tempo and catchiness. A growling guitar overcomes you, almost swallowing you whole. Inside, you still hear the music of nature outside (the mellotron quietly playing in the background, creating a remarkable atmosphere).

Gently Broken is a luscious track played through calmed drums, a grand piano, a jazzy guitar, and well, it may very-well be my favorite track on this album. According to their biography, they've played alongside Riverside, and perhaps I can hear some influence there? Mellotron comes into play, and then a turn for the heavy comes at minute 4.

I've always loved little ditties, and Through the Window is exactly that. Clocking in at 1 minute, it's a cute?though haunting?tune on the xylophones. Perfect break between Gently Broken and Instructional Inspirations.

Instructional Inspirations. A (mostly) instrumental that shreds. The guitar, piano, synths, and even strings are set for atmosphere. Love the first 3 minutes.

Kaleidoscope is a fun, giddy song focused on synths, uppidy wordless vocals, and most of all, catchy. Infectious. Some proggers may think this song takes from the seriousness the album revolves around, but even before this is brought up, I'll refute their claim preemptively!! It's nice to have some light- heartedness after the 25-or-so minutes of this looming environment the album evokes.

Worth to Remember introduces real metal vocals (for one second). This is when the album seems to run on its old energy, slowly running out of steam. Sure, this is technical, and perhaps some of the best vocals Mert's produced (in this album), it all feels like it's been done before through the course of this album.

Memories is a repetitive (though complicated to play, I'm sure) acoustic piece by Zafer (I'm assuming). Again, it's a great break, yet it's nothing too unique, unlike Through the Window.

Alienation is the epic's everyone been waiting for, right? It has all the ingredients; the xylophone, the swirling keyboards, great harmonizing, a perfect ambiance for a song titled 'Alienation.' There's multiple sections, but it doesn't seem to change drastically throughout. Personally, it becomes boring after a while, and while I love the first 4 minutes that captures the 'alien' vibe flawlessly, it "loses ground," to quote the song. It seems to repeat itself a little too much afterwards, with some solos between, still returning to the same ol' jam.

Tracks 1-7 I admire, and I hope Hope to Find has a long-running career. I'd like to hear a further development to their sound, since this represents many of bands' debuts. Great, but they now have the capability to venture deeper. I want a masterpiece, and I know they can produce one.