WAVING AT THE SKY

"Preceding" with a syncopated sound, a frenetic staccato pad, Steven Wilson on one side, the raging bass on the other, an electric tune followed by a honeyed groove. An instrumental full of amphetamines, the sound reminding me of OSI in some way; real lyrics taken from the trial and the court is open. "The Trauma" follows, OPETH in sight; riff, electric, a propulsive pad for vitamin-packed progressive metal. Simon uses his clear voice as he pleases to move and attack the magnitude of the story; the languid acoustic guitar amplifies the perceived pain with the targeted growled final vocal. "Families are Forever" contemplative tune with the acoustic guitar supporting the melancholic keyboard, depressed voice then a hellish growl for a time, like a foreshadowing undertow. The synths are warm and captivating, with a djent feel, an acoustic exploration and a growl explosion, creating a weighty, oppressive instrumental atmosphere. The guitar brings the track to a head, distilling a message of hope. The solo melts into the feeling, oozing with melancholy, and the hairs suddenly stand on end. The Genesis-esque keyboard suddenly amplifies the pastoral atmosphere; a stunning piece combining emotion, aggression, and sensitivity. "Conflating Memories" features an ostinato guitar, an ethereal vocal variation followed by a folk flute entrechat; a fluid, consensual, monolithic melody that gradually builds and builds, the highlight of the track taking its time... It's time for Auver's hushed, rich, joyful, intense, and intimate keyboard solo, all within. The vocals return and launch Edvard's guitar solo to capsize any potential recalcitrant, as does the final fade-out vintage organ.

"The Malevolent" with the participation of Ross from HAKEN on a sound... of HAKEN and OPETH in addition doom; the solemn, Dantesque chorus, the captivating choirs, concentrated to give a little more madness and publicity to this group of which I had spoken as one of the best first prog albums upon its release. "Ghosts of Yesteryear" continues, mysterious intro, electro-jazzy-rock air, the bass and the djent guitar at will. The drum pad maintains a hellish rhythm during these two minutes before Simon speaks softly of a terrible drowning: flute, keyboard and lead guitar to erase this terrible moment, delicious climate becoming explosive with the tenacious riff. A concentrate of clarity, sweetness, languor and dynamite. "Waving at the Sky" also continues for the eponymous title; redundant acoustic on an atmospheric synth pad, languor of the vocal, rise of the piece. The opening section is conventional, latent, supported by synthesizers worthy of Porcupine Tree. The vocal break with effects and its drum variation launches into the hypnotic, enterprising, repetitive keyboard solo; the syncopated keyboard gives way to a growl for a moment before returning to a more academic sound, resolutely modern, symphonic, and solemn with its distant elegiac choirs. The rise never ends, like the horror enunciated, but the music is there to lift one to heaven and greet those who will be there. The outro fades in for a languid vibration of our crazy society; dive into its musical drawer like medicine.

AVKRVST has created a conceptual album without being a concept; a prog rock album of the 2020s with a tenuous, fleshy, captivating, malleable, and catchy sound, flirting with OPETH. A sound guiding one toward exaltation and reflection; A true evolution of today's prog sound. Originally from Profilprog.

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