Mix up one part Saga, the other part Triumph, another part Rush’s Moving Pictures take the voice down a little more into the area of bass and you have the modern Prog recipe for Nth Ascension. Planted first by Alan ‘Spud’ Taylor as a childhood dream and later joined in the field in 1984 with the likes of Robert Stirzaker (Counterparts) – Drums, Martin Walker (Nth Ascension) – Guitars,Andrew Keeling (composer) –Keyboards, and in 1986 Darrel Treece-Birch (TEN and Nth Ascension) – Keyboards would eventually lead to the origins of NTH Ascension in 2010.
By 2016 the current line up of Nth Ascension would be complete with Alan ‘Spud’ Taylor – Vocals , Darrel Treece-Birch – Keyboards , Craig Walker – Drums & Percussion , Gav Walker – Bass , Martin Walker – Guitars. This line up is full of long progressive atmospheric compositions and instrumentally technical prowess. The band ranges from traditional progressive rock of the 1960’s – 1970’s with the neo-progressive sensibilities of the 1980’s and the more electronic and technical elements of the 1990’s – 2000’s. However what the separating factor is with Nth Ascension compared to their peers and contemporaries is the lower than normal vocal register of its leader Alan’Spud’ Taylor. His vocal register has a little of Michael Sadler (Saga), Matt Barlow, (Iced Earth) with a twist of the legendary John Wetton (King Crimson), this makes for a very distinct vocal apart from the rest in the progressive community.
Nth Ascension have returned with their second album In Fine Initium and are officially making their Melodic Revolution Records debut as well. In Fine Initium’s sound, I believe, is a look into progressive rock’s future by using well established progressive rock and metal staples. You know that power progressive rock, slightly heavy melodic metal. I admire the fact that Nth Ascension can not be pigeonholed nor typecast into a solid particular genre. They are the type of band with the appeal to reach a little bit of everyone within the progressive rock or even classic rock communities.
The album opens up with a explosive epic in Kingdom Keys.
Kingdom Keys opens almost like that of a film score or movie soundtrack with every instrument in harmony with one another to make a bold passage. The band comes out firing on all pistons here. Soon there is a break in the music and the warm vocals come into play. At around the 4:00 mark the track goes through various time signatures and identity that gives the band their unique progressive sound. With thunderous rhythm section on top of a deep symphonic keyboard and guitar stringed section that gives the song two different sides, Kingdom Keys certainly is a great foundation track to begin the album with. On the way towards the end there is a semi spoken word section which the band double tracks. It is a nice bridge keeping the song going.
End Of Days begins with a heavy brooding atmosphere created out of the fingers of Darrel Treece Birch. Soon a traditional straight away progressive hard rock track emerges to open the track up more. Like Kingdom Keys, End Of Days has a very movie soundtrack style to it. On top of the heavy keyboard there is a very deep tuned down feel to the rhythm section. Lyrically it is a song of redemption and positivity About the 4:30 mark the track goes through time signatures that also serve as mood changers for the objective listener. The 4:00 outro takes the listener from the summits of the stringed section to the valleys of the rhythm section equally and at times concurrent to one another.
So, That Was The Apocalypse is a instrumental track. It consists of deep rhythm sections with a flair of vintage progressive rock Hammond style organ. This sounds like old school Bad Company and Foghat meets Yes. It has both the straight up classic rock vibe with progressive elements and standards. This serves as a perfect bridge track for The Cage.
The Cage starts with a beautiful piano intro that is quickly joined by both drums and bass in the rhythm section. The guitar comes in to give the track a added atmospheric passage. Soon all instruments lead into the open lyrical verse and the band sounds like a well oiled machine at this point. The Cage is ‘The Epic’ on the album. This is a true roller coaster of the audio senses as it goes in and out of explosive rock passages met with a taste of ballad. Especially at the 5:00 mark where the track takes on layer upon layer of various atmospheres between the keyboard and bass and cymbals. The vocal takes on a David Bowie ‘Space Oddity’ style during this time. Around the 7:00 mark the instrumental takes various curves along the rhythmic highway with neo-progressive road signs with the various chord progressions and time signatures employed by the band. The instrumental rhythm sections are practically AOR/melodic metal in their very nature.
In Search Of The Rider (Clanaan Part 4) picking up where Nth Ascension’s first album Ascension of Kings, In Search of The Rider (Clanaan Part 4) is a epic song that will span over several albums much like Dream Theater did with the Bill W. AA Suite over several albums. The band does a excellent job picking up in the continuation of this story. This also is a very good middle track in that it feels like more of a transitional track towards a much bigger portion to the epic. This also serves as the perfect ‘batton-track‘ in that In Fine Initium continues the story appropriately where Ascension of Kings left off.
Forever (Clanaan Part 5) continues the epic journey with a great rhythm drum fill and a lush atmospheric keyboard passage. The guitar work borders along the lines of Pink Floyd meets Saga. This track is very well balance and also serves as a bridge track within the greater picture of the epic that is Clanaan as a collective. This track has a lot of modern progressive elements as well.
When The Rainfalls (Clanaan Part 6) is the paradox, it both ends the album and continues the ongoing story of Clanaan. This is a lush semi electric guitar track met with warm vocals much like a full ballad.
Nth Ascension have sure opened up more possibility of how progressive rock and music in general sounds. In Fine Initium is yet another evolution into progressive rock’s future by blending the past with the present. This album should provide for a solid set list in live settings. Nth Ascension’s In Fine Initium gets a 4.5/5.
For well over 20 years Evergrey have maintained a steady and progressive growth as a band and as songwriters. When some of there peers have either broke up or have lacked in maturity, Evergrey still grows and blossoms how they are planted. Tom Englund – Vocals/Guitars has also maintained a clear vision for the direction of the band he and Don Bronell founded in around 1995.
Anyone who knows about Sweden’s metal scene over the last 20+ years will know that Evergrey either shared in a renaissance of music growth with the likes of countrymen like Pain Opeth, Arch Enemy, Pain Of Salvation, In Flames, etc, or they have changed their sound progressively or even personnel changes. Everygrey have certainly been through this growing pain process, however with one of the most under rated band leaders, vocalists, songwriters and man of vision in Tom Englund,Everygrey have certainly weathered many storms in their 20+ years.
In 2016 the band has returned with The Storm Within, their second release from their new recording label home AFM Records. With The Storm Within, Evergrey have certainly removed any ‘sophomoric – jinx’ that may of happened coming off the widely acclaimed and highly successful offering of 2014 Hymns For The Broken. The classic Everygrey lineup also returns with The StormWithin as well as it did with Hymns For The Broken. The Storm Within sees the band pick right up where they left off with Hymns For The Broken. This is uncompromising, free spirited and mature progressive metal. Here are some highlights from track to track of The Storm Within.
Distance begins with a very dark melodic isolated piano passage before exploding into a riff frenzy. There is a lot of depth between the rhythm section on both side between the stringed section and bass/drum section. There are also very solid concurrent running vocal harmonies that run with the depth of the rhythm section. Most of this track rests on the vocal harmonies with the band and children’s choir towards the outro and guitar solo’s that interchange in and out with swift time signatures. I see this track as a track the band can do a lot with live in concert with adding the children’s choir. Maybe potentially backed by a orchestra if the band chooses that direction.
Passing Through opens up with a blistering rhythm guitar passage that is accented with lush keyboard highlights. This is a straight away progressive metal track that most metal listeners will be able to adapt to. Tom’s vocal matches the chord progressions in the rhythm section to really place a emphasis with that part of the track. There are some very mature and soulful guitar solo’s within this track as well. The time signature interchange is very spot on towards the objective. Lyrically it is a story of temporary lifestyle events.
Someday begins with a dark passage as if a army are brooding down on their opposition. The rhythm section is very heavy handed with quality of depth and maturity. The vocals once again play up more towards that rhythmic section than the stringed section. The vocals have a depth of warmth to them that really invite the attention of the listener. There is a break around the 2:30 mark that showcases the lead guitar as a instrument that works towards a simulated vocal that matches up to the main sung vocal. The guitar solo’s really tighten up about now showcasing the bands vision for the album.
Astray is definitely one of the more heavier tracks on the album. It explodes with a fierce and heavy rhythm section compounded with a shredding string section. The keyboards accent certain points and highlights within the heavy frenzy. The rhythm section walks the fine line towards a thrash metal section with progressive elements. Once again the band really pays attention to detail with the vocal harmonies as well as the well engineered guitar solo’s.
The Impossible starts out with a dark haunting piano passage with a warm vocal passage to keep the listener anchored into the album. There is a hint of the presence of a violin in here that continues to showcase the bands maturity and depth. This is the track that really sounds like the more diverse track of some of the album. I would not call it a ballad although it carries some of the qualities that a ballad would.
My Allied Ocean definitely opens up into a progressive thrash metal frenzy. A fierce and blistering one at that. I mean the rhythm section is heavily brooding and totally relentless. If that band does not have the attention of the listener yet, I believe they do now with My Allied Ocean. This track takes both right channel and left channel in the sensibility of the listener and puts it front and center in the theater of the mind of the listener. The dark content of the lyrical half certainly is a perfect compliment to the relentless instrumental half of the track.
In Orbit (Featuring – Floor Jansen) is the first of two tracks that feature current Nightwish and ReVamp vocalist Floor Jansen. It is also the first time since Ayeron’s 010110010 in 2008, that Floor Jansen and Tom Englund appeared on anything together. This one opens up with a very dark symphonic core with the appearance of a female chant in the background either provided by keyboard or Floor Jansen herself. Floor Jansen adds a very beautiful feminine side to this track while maintaining to integrity of the distinct Evergrey sound. I really like how the band wove both progressive and dark symphonic metal together for this track.
The Lonely Monarch is probably the more pop friendly track on The Storm Within. It opens up with a passage that is very easy to listen to. This track display’s Evergrey’s ability to appeal to a larger and more objective audience. This track is very melodic metal based by nature with the keyboards allowed more room to breathe and be displayed. It also carries great guitar solo’s with hook after hook. The verse, bridge and chorus are all on a more melodic backdrop than a progressive one on The Lonely Monarch.
The Paradox Of The Flame (Featuring Carina Englund) is perhaps the best and most profound love letter I have heard in the last 30 years I have been into progressive metal. The masculine and feminine parts really cut to the core of the listener. This begins with a beautiful piano passage that soon is picked up by the very warm side of the lead vocals. It really catches fire when CarinaEnglund enters in with her feminine vocal quality that gives this track a two teir sound in one track. Her voice is as warm as Tom Englund’s. This is a progressive masterpiece in of itself because this is rarely done in the industry at this level of excellence. This one really took me by total surprise. The violin really makes this a dark romantic tale at the highest levels.
Video Courtesy of: (AFM Records Official YouTube Channel) Disconnect (Featuring – Floor Jansen) obviously marks Floor Jansen’s second vocal appearance on the album. This one really opens up with a blistering heavy handed rhythm section with the vocal range really extended. Floor Jansen presents a wonderful and tasteful operatic chant in the backdrop of the blistering frenzy in the intro. This is certainly one of the heavier tracks on the album much like Astray and Passing Through. Floor Jansen also is like a one woman choir with how the band engineered and arranged this track. The solo has a epic quality about it as well. At the 4:10 mark manipulates the audio senses into hearing two tracks into one with the brilliant engineering done to it.
The Storm Within the self titled track of the album begins with a classically based intro due to the great rhythm section work at the very beginning. This is also arranged very well as the closer on the the album. With The Storm Within as a track you get a little bit every element presented in the ten previous tracks on the album. This is like a audio summary of what the listener just experienced allowing for the album as a collective to really settle into the senses of the listener. This is a track about inner self struggle on the lyrical side of it. The vocal harmonies really carry this track to entire different dimension.
After closer inspection this album is perhaps one of the most mature and well written albums I have heard in at least 15 years. Evergrey continue to grow as a band, which is what makes them one of the very top prevailing standards in dark progressive metal. Evergrey continue to show more and more maturity with every album surpassing even some of their peers and even bands before them. Evergrey’s The Storm Within is a rock solid 5/5 and already a Top #10 if not Top #5 of 2016 for me.
Take a part of Subsignal, a part of Sieges Even, two parts Marillion , a squeeze of IQ , Kino and Jadis and you have the recipe for the United Kingdom’s own Drifting Sun. A band that started in the early 1990’s when progressive rock and metal was getting a second wind off the likes Dream Theater,SymphonyX, Vanden Plas and Threshold, the band have stayed primarily independent their entire tenure. With a handful of major projects, singles and EP’s styled releases under their belt, Drifting Sun have returned in 2016 with their newest release Safe Asylum.
While some progressive music has gone entirely metal, djent, into death metal realms, Drifting Sun have decided to go back to fundamental progressive hard rock that has seemed to hold the story of progressive music together. Coming from the country that gave birth to the progressive rock world in the United Kingdom in keeping the band grounded I believe. This is a band that gives the appearance of a independent spirit as they are self financed and distributed.
This album does require a thorough full listen in the beginning. The band do not come out of the chute if you will with over the top virtuosity. Drifting Sun are a more total song structured band. The first two tracks King of Hearts and The Hidden Truth require some patience. The patience given to Safe Asylum is rewarded as every track improves and gets more and more unpredictable as the project progresses. Things get really going around the third track Intruder, which is where I will begin my further analysis of Safe Asylum.
Intruder opens up with a lush cinematic and atmospheric keyboard that is soon met with a steady rhythmic section. A spoken word portion is met in there until the main melodic vocal comes in. The vocal reminds me a lot of Marillion’s Fish meets Sieges Even’s Arno Menses now of Subsignal. The rhythm and melodies are almost like a soundtrack to either film or television. The Keyboard really has a heavily neo-progressive accent on it much in the vein as their contemporaries in America Enchant. Towards the middle of the track to the end it takes a more progressive ambient metal turn much like early 1990’s Fates Warning.
Alice begins with a great acoustic guitar passage met with a lush full piano to round out a great stringed intro. Soon the high vocal comes in with almost a melodic story. Between the stringed section and the vocal there is clarity of sound. Alice is more of a ballad for Safe Asylum. There is even a nice violin almost in the vein of Dust In The Wind by Kansas.
Wonderland begins with a subtle and full keyboard led stringed section. Soon the drums come in more as a percussive instrument in the underlying area of the stringed section. The drums soon kick in with the bass for a more traditional rhythmic section. Lyrically the vocals interchange in and out with some vocal solo’s met with full vocal harmonies. Wonderland reminds me a lot of Easter from Marillion. The track takes a more aggressive approach in both the instrumental melody and vocal harmony in the middle. Wonderland also showcases a very distinct and deliberate guitar solo more then the tracks leading up to it. About the 6:30 mark the bands elemental sound is a little like Dream Theater’s Voices from Awake.
Gods starts out with a nice tight acoustic guitar intro that is soon met with a very tight vocal harmony. The vocal harmony in almost like a mini choir. It has many backing vocal effects that run with the main vocal. One subtle moment you are moved by a deep rhythm section between bass/drum. There is some innocence about this track with the baby vocal effects as well. The flute simulation towards the end presents a full instrumental outro.
Desolation begins once again with a heavy keyboard passage that is met by a more traditional progressive rock passage as the guitar, bass and drums come in. The vocal’s once again have a dynamic where they interchange from a single led vocal to a more choral vocal. Desolation also has a guitar solo that sounds more like a vocal at time than a instrument.
Retribution starts out with a deep drum/bass rhythm section. This is a more dark track with the tuned down rhythm guitar and Hammond style organ. This is a very up tempo track with many unpredictable riffs and time signatures. This is a more Deep Purple meets Yes track here. There are some great vocal harmonies within the track as well.
Emphasis is a short 1:12 track more like a extended segue into the last and final track Vegabond. This track is one guitar solo basically.
Vegabond starts out with a light piano melody. Soon the guitar kicks in as well as the drums to fill the track in. The guitar is more of a solo style compared to a rhythmic one. Vegabond is a full instrumental that finishes Safe Asylum.
Although it takes some time and patience Drifting Sun’s Safe Asylum finds a way to get on point. This is a album for the progressive purist. If you are one of those listeners that only listen for a few songs, Safe Asylum is not for you. If you are a album oriented listener that listen’s to the entire album than this is a album worthy of consideration. I give this a 4/5.
Label: Independent/TRP Release Year: 2016 Country: International Genre: Progressive Rock
Band Members
Steve Hackett – Electric & Classical Guitars David Jackson – Saxophones & Flutes Billy Sherwood – Bass Guitars/Drums & Electric Guitar Vincenzo Ricca – Keyboards With Riccardo Romano and Daniele Pomo of Ranestrane, Mauro Montobbio and Luca Grosso of Narrow Pass, Franck Carducci, Paolo Ricca. Special guest appearance by Joanna “Jo” Lehmann Hackett – (guiding voice on “Of Fate and Glory”).
I have heard concept albums that touch on the time of The Roman Empire over the years. It is usually mentioned in a lyrical form telling a story verbally. Never before have I encountered a almost strictly instrumental conceptual album exclusively concerning The Roman Empire until now. Vincenzo Ricaa -Keyboards and a all star line up of Yes’Billy Sherwood and Steve Hackett to name a few have released a album called The Rome Pro(G)ject Of Fate And Glory.
The Rome Pro(G)ject Of Fate And Glory, is all about the origins, the growing pains, the betrayal and the expansion of the most advanced empire within the history of the world. However the story is told through the emotions of the individual tracks that brilliantly run concurrent with smooth transitional segue’s from one track to the next. To have a subject as complex as the Roman Empire in of itself with lyrical content telling the story would be enough for normal artists. However to take the huge risk of attempting to convey such subject solely on its instrumental merit alone would appear to be madness and lunacy to the average listener.
I will not lie to you the reader and potential listener, this will require a huge open heart and objective mind along with some general research of the subject of The Roman Empire to grasp it as the artists intended. To those that are either history enthusiast’s or those who just enjoy quality instrumental progressive rock, you are in for a treat with this album. There are 11 tracks that encompass this brilliant and intelligent soundscape atmosphere. The project itself has a traditional progressive rock backbone with modern neo-progressive elements. This is just a massive challenge on a instrumental level to tell the almost 900 year history of the Roman Empire.
The album opens up with by Joanna “Jo” Lehmann Hackett – (guiding voice on “Of Fate and Glory”). Here she is very eloquently articulate in her description of the origins of the Roman Empire. It gives the listener the appearance of a introductory playbill to a stage play as she dictates the coming tracks on the album. This track would lead up to the following track The Wolf And The Twins.
The Wolf And The Twins begins as a lush keyboard led piece of music that quickly moves into more traditional progressive rock layers and atmospheres. This track is highly on the neo-progressive side. It is arranged in such way however where it just sounds like the origins of something to come. The drums/bass rhythm section certainly anchor this one.
The Seven Kings Of Rome opens with a nice lush keyboard and obvious bass/drum rhythm section. They participate on a interchange of various off and on time signatures. This track is one of the more evolving tracks. There is a great set of bridges and passages played in such a way that it never sounds the same throughout the project.
Seven Hills And A River opens up with a solemn ans subtle harp. This is accented with a lush ethereal atmospheric keyboard section giving the track more and more depth as it progresses. Soon a very smooth yet subtle bass/drum rhythm section runs perfectly concurrent with the lush stringed section between the keyboards and harp. In this track I finally here the harp presented the proper way in progressive rock. The harp does not really need a classical register to be used effectively. The harp can be utilized in the stringed section as much as any 6,7 or 12 stringed guitar can and does. About the 6:45 mark the keyboards in a very uncanny way are used to represent a human style choir.
Forum Magna opens with a subtle flute that is soon carried away like the wind with a lush straight forward keyboard atmosphere. The keyboard sets up a little darker progression and time signature. This track is all about the the keyboard atmospheres with the bass/drum rhythm section coming in as a novice element. It makes one feel like they just entered into the great Roman Forum with a celebratory elation behind them. The flute and other horned sections compounded with the lush keyboards give this track a very traditional classical sound through the filter of current progressive elements. S.P.Q.R opens with some great guitar atmospheric work. The guitar is like that of a vocal that is trying to tell a story along with how the keyboards interchange with the guitars. This one is definitely a more guitar oriented track. Once again the rhythm section of bass/drum come in only as needed and do not overwhelm the main objective with the guitar telling the story as the center of the track itself.
OVID’S Ars Armatoria begins as a sweet flute solo that is soon met with a great tight rhythm section. The bass starts to become a focal point in this track. Not some much a overwhelming focal point however it is really the backbone among the lush stringed and horned section in harmony with one another. The horned section really comes in strong towards the end of this track with the keyboard sounding almost like a vintage 1970’s style Hammond.
Augustus (Primus Inter Pares ) once again starts with a refined horned section to perfectly match the guitar and keyboard stringed section. In this one it would appear that the stringed and horned section play with perfection with off time signatures yet still achieving the main objective to the track. The rhythm section has quite more of a classical sound to it as well. This track even walks into some areas of contemporary jazz. At this point the project as a collective starts to take shape more as a symphony jazz orchestra.
Haidrianeum opens up with a lush dark and heavy passage as if a mist or fog is settling on Rome. It takes the listener slow yet steady. The guitar once again acts like more of a vocal voice even more so as the darker elements continue to carry the backdrop of the song. The keyboard simulates the sound of a choir as the guitar manipulates the ear into thinking it is a voice.
The Conquest Of The New World (Traianus) starts off in much the passage as the first track Of Fate and Glory giving the listener the full appearance and confirmation that although being a instrumental, the album and project is still a conceptual album. This track re visit’s various passages the listener just experienced.
I will have to say that doing a instrumental concept album on the Roman Empire was very risky. If the listener loves history or just great instrumental progressive rock, this is the album for them. This must be approached with a open and objective heart and mind. This album is not for everyone. I am giving this one a 4.5/5 for sheer effort and world class musicianship.
Robert Ernlund – Lead vocals Anders Wikström – Lead Guitars and vocals Pontus Egberg – Electric Bass and vocals Patrick Appelgren – Keyboards and vocals Jamie Borger – Drums
Over the last 30+ years AOR, melodic hard rock, melodic heavy metal have certainly interchanged and mixed from time to time. In the United States and North America in general we have seen bands like Journey, Styx, REO Speedwagon, Survivor, Toto etc , gain world wide success on the AOR front. Some progressive acts from the 1970’s like Yes and ASIA even adopted elements of the AOR sound to remain relevant on the charts. Then something began to happen with the pop metal or glam metal started developing really high quality yet sometimes cheesy videos.
Some heavy metal and aspiring hard rock bands that did not want to be branded with the cheese factor morphed into Melodic Metal/AOR bands. Soon bands of the older guard like Bad Company with Holy Water,Joe Lynn Turner era Rainbow(1980-1984), later Honeymoon Suite, Bohnam and Giant would begin to add some heavy metal elements, some progressive elements and the real backbone of melodic emphasis. By melodic emphasis I mean big range lead vocals and backing vocals to match note for note harmony to any given composition. Finally you had bands that were able to combine all these elements like Bad English, Firehouse, Steelheart, Mr. Big and Treat.
Although they may of went a little under the radar here in North America, Treat were huge in Europe and especially Japan. In 2016 Treat are better, heavier, and more melodic than they ever have been. Their Frontiers release Ghost of Graceland has proven that Treat are still a powerhouse band to be reckoned with. Ghost of Graceland proves that a band can age really well like a fine wine and still write, record and produce a album on their terms without it sounding dated.
Treat’s Ghost of Graceland has a little bit for the pure melodic rock, AOR, melodic metal fan. It is compiled 12 tracks for the standard release or 13 tracks for the exclusive Japanese Edition. This review is brought to you courtesy of the Japanese Edition. The band opens up the album with a straight away blistering yet melodic self titled track Ghost of Graceland. The track Ghost of Graceland starts with thunderous riffs and rhythm section before going into a more level melodic passage. Ghost of Graceland is very tight on the harmonious interchange between lead vocal to backing vocal.
Moving forward the vocals of Robert Ernlund– vocals are done with such precision and clarity. He has certainly maintained his range while many of his contemporaries have started to struggle. Anders Wikström: Lead Guitars and vocals Pontus Egberg: Electric Bass and vocalsPatrick Appelgren Keyboards and vocals all join Robert Ernlund with a mini choir and such spot on accuracy throughout tracks like I Don’t Miss The Misery, Better The Devil You Know, Inferno and Alien Earthlings, etc… that carry a very heavy melodic riff and rhythm section that all focus around the backbone of the band Jamie Borger: Drums.
On Ghost of Graceland you will find many more straight away melodic metal, AOR and some heavy metal throughout the entire album. There is really only two true ballads Do Your Own Stunts and the other on the album being Together Alone, which on the Japanese Edition that I am using on this review, shows up as a piano based track as a extra Japanese release only at the very end. The one main focus I keep hearing on the album is the storytelling element within each song and composition.
Some have said it is all production. I disagree with that. I believe the band placed a higher emphasis on the writing and tracking thus making the production much easier. The band not only focus on good storytelling but they also place a emphasis towards the melody, vocal harmony and even the instrumental to vocal harmony elements. The sound is a modern sound no doubt. Not too many bands of their genre or community from 30 years back can really claim that their sound has progressed forward in maturity and structure. Treat are one of the few that have not went backwards. 30 years later they still continue to leave their mark on melodic metal/AOR/progressive rock. Treat Ghost Of Graceland gets a 4.5/5 for progression and maturity.
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