Within some genres of music whether it is progressive rock, psychedelic rock, krautrock, etc .. there are leaders and then there are followers. The followers try to trace a picture or try and sound like another musical entity whether it is a solo artist or a band. The followers are like sheep gone astray that left to their own devices seem very bland or someone trying to fit in with the popular crowd. 75% of music is primarily made up of followers. The followers just seem they can not think or create anything for themselves. They are always ‘YES -MEN,’ who want to appease every person with every little thing due to fear or lack of confidence or perhaps talent.
There is also the other 25% that are the leaders. The leaders are always the visionaries who lead by example. Those who are leaders create their own molds in which to make their own casts. These are people who create and innovate while others imitate. The leaders are often times regarded as foolish daydreamers who live and behave in in a altered reality. The leaders are persecuted, scrutinized and often times discouraged from perusing the passions, dreams and visions. These are courageous who cut there own path’s towards their respective destiny’s.
Why open this review with such a comparison you ask? Well by closer observation I have come to the conclusion the Heavy Psych Sounds and their act Mother Engine are in the 25% leader bracket and Mother Engine’s current release Hangar in the perfect example to this. With only three people in the band, Mother Engine certainly have a full sound of what we have come to expect from 5 to 7 person bands. Through true knowledge of their respective instruments and much practice
Mother Engine are a very unstoppable ‘Three Man Progressive Psychedelic Symphony’.
What they create is a vast expanse of quality music that requires a long attention span. This is due to the fact that there are only four tracks on the album at almost 20 minutes each. Think Bla Lotus’ Tube Alloy’s with much longer soundscapes. Without any further delay lets look into the world of Mother Engine’s Hangar through those four tracks.
Prototyp (18:23)-begins with a heavily stoner/psychedelic induced chord progression that works also as a heavy atmospheric introduction. There is a very special effect as if the band are giving the listener the illusion or appearance that some kind of spaceship or space probe is closing at its air lock. It is as if the band are going to take their listeners on some cosmic voyage into the unknown. Soon the special effects would give way and fade when a deep bass progression comes into the track. From there a rhythmic progressive frenzy ensues.
Soon the lush guitar atmospheres come in perfectly giving the listener a vivid melodic illusion of sheer melodic controlled cosmic chaos. The band certainly knows how to allow both stringed and rhythm sections to breathe and enjoyed very distinctly by the listener. Christian Dressel – Bass manages to perfectly execute a twofold approach between using the bass both as a melodic instrument and a percussive rhythmic instrument weaving in and out of both elements effortlessly. There seems to be nothing pretentious or contrived within the objective of the song composition. Mother Engine certainly has a great uncanny ability to create atmospheres of both stoner and psychedelic elements. With only three members in the band they manage with excellence to create a Stoner-Psychedelic Symphony that gives the listener the illusion that there are much more instruments and personnel involved.
Biosp(i)rit (18:08) opens up in such a precise way that has one perhaps recognizing a particular Jim Morrison and The Doors classic Psychedelic epic opus The End.Very soon after such ambient psychedelic intro, this song take on a very old school fuzzy distortion with how Chris Trautenbach – Guitar, creates it within the vast expanse of the song body. This is also supported with a deep rhythmic section that perfectly compliments the atmosphere created from the brilliant guitar. Following this great stoner symphonic introduction, the track takes on some very strong 1990’s alternative Stone Temple Pilots styled chord progressions and passages. To qualify that last statement, the band still remain very 1970’s progressive-psychedelic stoner minded and always on point to their main objective.
This track is one of those tracks that is perfectly ready for the band to give it to a live audience with the live treatment. It starts off very subtly building layer upon layer until it the absolute metamorphosis into the perfect ‘Jam Band’song is manifested for both band and public consumption. One thing I am starting to notice going forward in the album is that the band do not layer tracks or overdub tracks to death in studio making it very difficult to give their music the above mentioned live treatment. At about the 10:00 mark the track presents the listener to come killer riffs that are perfectly complimented by some very deep and deliberate space rock style chord progressions and rhythmic sections. That brief yet powerful explosion of sonic creativity soon fades down a bit around the 13:00 mark. It settles with a simple guitar chord progression that is met with a very intricate rhythm section that takes on a progressive rock personality about it. This roars out with a heavily fuzzy distortion element on a straight away rock track.
Tokamak (21:29)opens up with a eerie suspenseful atmosphere. It has quite a Krautrock meets psychedelic Syd Barret era Pink Floyd style about it. In a era where some music is being formatted for hi fidelity sound and surround sound the effects presented in the opening to this one remind me heavily of the days of 1970’s quadraphonic sound which was the a pioneer to surround sound and hi fidelity. While most music is listened to through a headset, the opening to this alone is well worth a open air listening session through professional studio monitors if one has access to that format of technology.
The use of the guitar to form a screaming sound along with the drums created a rain water sound is a thing of sheer beauty and genius. When you are familiar with your instrument enough where you can manipulate the presentation with various effects not typically associated with that effect you are a well studied musician and Mother Engine certainly meets that criteria and it shows on this song. Another dynamic going on here is that to the very seasoned consumer to this brand of music and to the trained ear that can pick up analog sound. it sounds like the fresh needle of a vinyl record being spun like music use to be. This is yet another depth of talent that Mother Engine possesses.
At about the 9:00 mark the band take the song into a more progressive/psychedelic jazz atmosphere with the various time signatures and chord progressions. After that the band do what they seem destined to do in the recording process, that being the layering element upon chord progression in a line of melodic precept after melodic precept.
Weihe/Leerlauf (19:18) opens up with a beautiful Indian Classical Music oriental scale blended with the signature psychedelic space rock that the band have already established on the album. Here is another track where the band uses their expertise in layering their sound with various sub tracks that make for a full and warm composition. The band also has a very intricate ability to go from painting atmospheres in the song to straight away psychedelic jam band rock chord progressions. Their signature fuzzy stoner riffs still anchor this track like they have with the 3 previous tracks on the album.
The band allows for the song to move in various different directions leaving for room to be non predictable where the listeners attention remains focused within the album. This track sees the band utilize their ability and musicianship to meet this very purpose. This track has one of the most definitive and solid 8+ minute outro’s in the history of this genre I have ever heard. It is a true roller coaster ride of up tempo, to atmospheric space rock styles, to crunchy straight up rock riffs.
This one certainly took me by surprise. Mother Engine are a band that truly makes great epic psychedelic rock without it sounding imitated or just another redundant jam band session. In their improvisation their riffs and chord progressions all have a purpose and direction without them just being ‘Fills’ or ‘Cogs‘ in the system or machine. With Hangar, Mother Engine have another melodious project to build their respective legacy on. Mother Engine’s Hangar gets a 5/5.
Band Members Hans Jorg Schmitz – Creator/Percussion/Keyboards/Guitars/Bass Dago Wilms – Guitar/Bass Gary Farmer – Rickenbacker Bass Steve Unruh – Flute/Violin Pantelis Petrakakis – Bass Andrew Marshall – Spanish Guitar Phillip Schmitz – Keyboards/Piano/Voice Peter Simon – Woodwinds Erik Vaxjo – Mellotron Chip Gremillion – Keyboard Scott Taylor – Ulliann Pipe Kathrin Daniel – Voice Viktoria Papen – Voice
King Of Agogik Morning Star is inspired by the poetry of Christian Morgenstern.
Tracklisting Veils Open… ..To The Place Of Origin Mother Of Depth The Art Of Make~Up Suprema Lex Ignes Fatui A Visit To The Mouse Barber The End Of Dithyramb Curtain Call
Definition of concept something conceived in the mind : thought, notion an abstract or generic idea generalized from particular instances the basic concepts of psychology the concept of gravity
Throughout its 45+ years, it seems that progressive rock and metal have given birth to some of if not the absolute best concept albums or conceptual albums. The part of the world you live in bring both of those titles to a ever growing and never-ending sub genre within our class of music. Some believe you have to have a concept album loaded up with all lyrical content as to follow the main story or objective of a concept album. I said this before here at Power of Prog and will say it again. Although I still have a love for concept albums loaded up with lyrical content I also love conceptual albums where the majority of the content is instrumental.
Now in April 2017 I have the honour to review King Of Agogik’s Morning Star by German drum virtuoso Hans Jorg Schmitz. King Of Agogik was a special experimental project that Hans Jorg Schmitz set out to create and develop in 2006. Morning Star is the sixth album in this melodic franchise. Morning Star is inspired by the poetry of Christian Morgenstern. Who is Christian Morgenstern you ask?
Christian Otto Josef Wolfgang Morgenstern (6 May 1871 – 31 March 1914) was a German author and poet from Munich. Morgenstern married Margareta Gosebruch von Liechtenstern on 7 March 1910. He worked for a while as a journalist in Berlin, but spent much of his life traveling through Germany, Switzerland, and Italy, primarily in a vain attempt to recover his health. His travels, though they failed to restore him to health, allowed him to meet many of the foremost literary and philosophical figures of his time in central Europe. Morgenstern’s poetry, much of which was inspired by English literary nonsense, is immensely popular, even though he enjoyed very little success during his lifetime. He made fun of scholasticism, e.g. literary criticism in “Drei Hasen”, grammar in “Der Werwolf”, narrow-mindedness in “Der Gaul”, and symbolism in “Der Wasseresel”. In “Scholastikerprobleme” he discussed how many angels could sit on a needle. Still many Germans know some of his poems and quotations by heart, e.g. the following line from “The Impossible Fact” (“Die unmögliche Tatsache”, 1910)
This may have been created by a drummer but make no mistake this is a very profound melodic artistic expression. The album ranges from classic neo progressive elements, heavily melodic chants, heavy melodic instrumental metal and thought provoking spoken word portions with some social commentary. Therefore there is a wide spectrum of elements within the progressive rock and metal standards. This is also one of those albums that will require both a open mind and a few spins to pick up on the main objective to the concept. I would like to explore and point out some highlights from King Of Agogik’s Morning Star on a track by track analysis.
Peter Simon – Oboe , Phillip Schmitz – Piano/Keyboards , Hans Jorg Schmitz – Drums/Keyboards/Guitar
This opens up with a very heavy keyboard progression that sets up the first of many atmospheric elements on the album.From there a sound effect of a phone rings and you hear a dialogue between two men. Soon after that the drums come in and make a abstract construct through what sounds like a regressive filter with a spoken word element blended right into it. The track bleeds seamlessly into the next song The Unavoidable Wayfare …
The Unavoidable Wayfare …
Hans Jorg Schmitz – Drums/Keyboards/Guitar’s , Dago Wilms – Ryhthm & Solo Guitar , Gary Farmer – Rickenbacker , Steve Unruh – Flute & Violin , Peter Simon – Woodwinds , Phillip Schmitz – Piano , Erik Vaxjo -Melltron , Viktoria Papen – Voice, Chip Gremillion – Keyboard
This transitions seamlessly off Veils Open. It opens up with a beautiful atmospheric effect done on keyboards and quickly goes into a beautifully unorthodox Arabic Scale done with well disciplined woodwind instrument that soon explodes into a Neo Progressive harmony between the drums, keyboards and a neo progressive guitar. The heavy new progressive instrumental harmony has a slight progressive metal element to it. The track soon drops where the Arabic Scale starts taking the track in and out of odd time signatures and chord progressive passages. The drums are more in time with the Arabic Scale that seems to be the dominating factor throught the track. It also takes on a heavily Mellotron induced melody that allows the track to maintain its unique quality. Each and every turn and layer upon layer chord progression and time signature is building towards what I believe to be the second part of a multi tracked 24:34 minute track followed by the following track , …To The Place Of Origin. Parts of the next half of this track remind me a lot of 1980’s Neo Progressive elements of a Jan Hammer meets Shamallwith a lot of intricate keyboard progressions in harmony with the insane clinic Hans Jorg Schmitz seems to be putting on. The helicopter effects are something very unorthodox where they fit nicely into a surround sound system. This ends with some insane intricate changes between the drums and keyboards.
…….To The Place Of Origin
Hans Jorg Schmitz – Drums/Keyboards/Guitar’s , Dago Wilms – Ryhthm & Solo Guitar , Gary Farmer – Rickenbacker , Steve Unruh – Flute & Violin , Peter Simon – Woodwinds , Phillip Schmitz – Piano , Erik Vaxjo -Melltron , Viktoria Papen – Voice
Again in appropriate concept fashion this track bleeds seamlessly off of the previous track The Unavoidable Wayfare …… It transitions so smoothly that it gives the listener the true audio illusion that it is the second part of a multi tracked 20+ minute epic. It begins with a beautifully orchestrated acoustic guitar in harmony with the flute and violin. This sets up for a more folk style atmosphere in the vein of more of Jethro Tull meets Camel meets Big Big Train. The violin eloquently done reminds me a lot of Robby Steinhardt of Kansas, especially dust in the wind. The guitar builds layers upon layers to meet in harmony with the rhythm section. The neo progressive folk progression allows the listener time to breathe and begin to absorb the album more on a soulful level. It is one of the more symphonic and orchestral laden tracks on the album providing depths of even classical music. The middle section is is a real roller coaster of emotion with the various time changes and those Arabic Scale instrumental reprisals to remind you you of the conceptual spine of the album. The drum and rhythm section continues its beautifully intricate exchanges of various chord progressions and time signatures and synth atmospheres. This track finishes with a elegant female spoken word telling a story over the drum beats in harmonic balance.
Mother Of Depth
Phillip Schmitz – Fender Rhodes, Hans Jorg Schmitz – Keyboards and Carillion
This begins with a gracefully done harmony of various keyboard and Carillon harmonies forming a deep toned atmosphere. The atmosphere created is quite dark in nature however serves as a bridge track Navde.
Kathrin Daniel – Voice , Hans Jorg Schmitz – All Instruments
This track keeps on point with the more darker and deeper atmospheres on the album. There is a very articulate spoken word section in both German of a poetic nature. The instrumental atmosphere is quite psychedelic in nature.
The Art Of Make~Up
Hans Jorg Schmitz – Drums
This is a perfect storm of epic drum proportions. The symphony of hi hats blending with snares and eloquently in harmony with cymbals is a dream for listeners who really love drums and tight rhythm sections. Playing sometimes in odd time signatures there is a little blend for the most objective mind and progressive purist at once.
Hans Jorg Schmitz – Drums, Dago Whilms – Guitar & Bass , Peter Simon – Oboe
This begins with various effects as if the listener has been transported to a war zone. This is a all out audio assault on the senses. With deep rhythm sections and dark and heavy handed neo progressive metal elements with police sirens effects, this is certainly a track that will get the attention of the listener for sure. It includes parts of Winston Churchill’s infamous speech following the all out assault of Nazi Germany during the start of World War 2. From there it runs a series of spoken word segments over some good solid progressive hard rock. Fragments of spoken word nature of President John F Kennedy and various other world leaders throughout history are very upfront and present with a vast amount of social commentary. The instrumental atmosphere remains very very aggressive towards the finish line of the track.
Dago Whilms – Guitars , Scott Taylor – Keyboards/Bass/Guitar
Begins as a very folk driven acoustic ballad. One that may come out of the regions of say Scotland or Ireland as it steadily takes on heavy layers of Celtic elements. The guitar and Celtic elements remind me very heavily of Dave Bainbridge and IONA or even Mostly Autumn.
A Visit To The Mouse Barber
Pantelis Petrakakis – Bass , Hans Jorg Schmitz – Drums
Opens up with a heavily funk driven bass chord progression in harmony with various percussive cymbals giving the track very unorthodox and fresh sounds. The drums and bass take on a far more melodic narrative here. Even more so than a percussive narrative. This is another track that is a rhythm section lovers dream come true.
The End Of Dithyramb
Gary Farmer – Bass , Dago Whilms – Guitars, Peter Simon – Woodwinds, Steve Ubruh – Fute & Violin, Andrew Marshall – Spanish Guitar, Hans Jorg Schmitz – Drums/Keyboards/Guitars
This begins with a healthy rich Spanish/Latin chord progression along with various percussive elements to present this 20+ minuteepic. Once again Hans Jorg Schmitz has a very intricate understanding of layering various time signatures and effects on a composition. Soon the violin takes it into more of a traditional classical atmosphere. The violin even at times allows some Far East Orient elements loose. Soon the piano, drums, bass, and guitars take the listener on a unorthodox and unpredictable journey of sonic excellence. It is as if Santana and Yes got together to develop a Latin Progressive Rock composition with a slight flavour of Jethro Tull with the presence of the flute. This track is like a perfect balance and blend of Jethro Tull’s Aqualung meets Yes Tales Of Topographic Oceans meets Santana – I, II, & III.
This track is also like Bach or Beethoven on drums writing one of their classic symphony scores. This takes on qualities of traditional progressive rock with some heavy Celtic and World influence to even some cosmic elements from a RUSH 2112 meets Tangerine Dream’s – Zeit 1972. All the instruments are very clearly heard both on their own accord and in the collective harmony of things. Hans Jorg Schmitz has written this very complementary so his guest musicians can really be heard. That is a tougher task than many think it is. It also takes a humble and gracious soul to do that for guest musicians. The breathing space each of his guest has on this track is just a remarkable feat.
The last five minutes of the track is much like a straight away, 1970’s era classic rock acoustic track in the vein of Blind Faith’s Can’t Find My Way Home, however in a instrumental fashion. Soon the sweet rhythm sections and atmospheres that have been the standard for Morning Star start to really bring it home for the listener. The elements in their collective really come together to perfectly compliment the last and final track Curtain Call.
Dago Whilms – Guitar, Phillip Scmitz – Piano/Keyboards, Hans Jorg Schmitz -Drums/Keyboards/Guitar
Is very appropriately named for the last and final track on Morning Star. The journey is about over however not until it is ended properly. It is a full reprisal track that ends much like it began back in the first track Veils Open. The same narrative is pumped through a more abstract filter with a much more melodic atmosphere serving as the backbone. It ends in a very ‘Pink Floydian’matter with the guitars. You can hear many of the elements in this short track that you heard through the entire journey of the album.
King Of Agogik is some of the very best instrumental work that I have heard since great instrumental albums as Ayreon’s Actual Fantasy, Liquid Tension Experiment 1 & 2, Gordion Knot 1 &2 and even the two from Melodic Revolution Records I featured last year, Leon Alvarado The Future Left Behind and Darrel Treece Birch No More Time . King Of Agogik is very groundbreaking with every release. It is a perfect album for those interested in a quality instrumental progressive rock album and it will also suffice the progressive purist at the same time. This is on my list already as a contender for Instrumental Album of 2017 at least. I do hope to see some more social media presence on this franchise. It is worth the time to invest social media presence such as Facebook or Twitter. Credit goes to Chip Gremillion who shared a few copies with me making this review possible. I am giving this a strong 5/5.
Throughout the history of most human existence we have striven for a peaceful world a utopia, a paradise. To achieve this goal some have turned to organised religion, others have turned to education and higher learning while others just have no belief at all and turn to vice’s or various other activities. Let’s say for a moment that the human experience believes it has already reached its maximum Utopian society where you did not have to worry about offending other people, there were no wars, plagues, famines, etc . What if we were not even allowed to feel emotion, love, anger, forgiveness, rage under this utopia. One would assume all world issues were solved.
Now what would happen if one day a young man suddenly had a raging headache or felt something snap inside his body that would begin a downward spiral? The Utopian filter he used to see a paradise is now collapsing into a nightmare Dystonia society. Buildings decay, economies fall all around the world, lust enters the heart and suffocates and confuses true love. This entire downward spiral all began when a implanted micro chip malfunctioned within this young man. This is the world that Irish guitar genius Graham Keane has created with his monumental debut The Vicious Head Society Abject Tomorrow.
After a personal struggle and turmoil in his own life Graham Keane began to question everything much like the character in the story after the implant failed. It also served as a motivator to start work on Abject Tomorrow. Graham was not by himself and enlisted some of the very best musicians in the world to meet his goal with the album. Musicians enlisted are Derek Sherinian – Alice Cooper/Yngwie Malmsteen/Dream Theater, Kevin Talley – Dying Fetus/ Misery Index/Chimaira/Six Feet Under, Wilmer Waarbroek – Ayreon and Pat Byrne – Hedfuzy. With all that talent and Graham Keane’s vision The Vicious Head Society’s Abject Tomorrow has a lot of depth and substance that most debut concept albums lack. There is a little bit of everything on Abject Tomorrow from traditional high range progressive metal, to the more modern elements with the use of death growls and djent elements. I will point that out along the way with some highlights from every track with a track by track analysis.
The Sycophants begins with a very beautiful Hammond organ style synth passage that serves both as a melodic and percussive instrument. This creates for a haunting eerie atmosphere before the guitars come in with intricate chord progressions and various time signatures. This works very well as part of the overall introduction of the album. The vocals and rhythm sections come in and really anchor the listener into the composition and album rather quickly. There is a lot going on in the first 2:50 minutes to apprehend the listener’s attention. The instrumental portion compliments the emotion of the lyrical content and story quite well. About the 4:50 mark the bass takes a wicked percussive chord progression that is magnified by the keyboard atmospheres and time signature changes that are much like Haken and Dream Theater. The rest of the track is a roller coaster in and out with time signature changes.
Abject Tomorrow transitions with ease off the previous track The Sycophants. This track opens up with a very blistering, yet thunderous display of profound rhythm sections both in the areas of the bass and drum and even the guitar. The opening is straight up textbook progressive metal at its finest. The keyboard provides a very eerie atmosphere in the back by which the thunderous rhythmic time signatures and interchanges. The vocals come in very dark brooding matter. The vocals are partially a very wicked spoken word section that is soon met with a cleaner high end vocal to match match the instrumental narrative before the track gets out right brutal.
The track takes a very tuned down instrumental approach with a tuned down guitar and the bass working both as a melodic and instrumental tool. This bleak heaviness is met much like earlier Opeth and Katatonia with the death growls at the 3:00 mark. The heavier more progressive death metal element within the song really conveys anger and rage both on a lyrical and instrument front. The death growl’s help to convey the fear and anger the character is now waking up to. It is much like a scathing indictment on the Dystopian society with the death growls carrying some of the lyrical narrative. The rest of the track takes a very heavy melodic directive. The death growls even become more of a instrument towards the close of this track.
Downfall (Voice In The Sky) opens up with lush ethereal keyboard layers that continue to build along with the electric guitar solo at the onset. Soon the rhythm section of drums and bass come in to help anchor the track and eventually set the song and story narrative up. The heavy rhythm sections really work well in harmony with the stringed and keyboard progressions before the track drops and all we here is a bass and isolated vocal take the story into another passage. The track takes on a very unusual dynamic with a more neo progressive keyboard synth with some very brutal death metal vocals. It makes this portion of the track a more progressive melodic death metal passage for the time of the verse. The double tracked vocals add a very odd time signature and depth to this track as well. The song takes a break and the beautiful harmony of piano, bass and guitar and violin coming together helps bring the entire track to its climatic conclusion.
Agenda (I) Cryptograms (II) A Digital Self opens up with certain sound effects that transport the listener to a proverbial wasteland in the theater of the mind. Soon the track takes off with some serious deep tuned down rhythm chord progressions to give the track a level of brutality. The guitar is way tuned down. It is a six string guitar tuned down to sound like a seven string. The 5 string bass really gives the instrumental portion a really brutal depth that works in perfect harmony with the death metal growls. Then the track takes on a very odd yet appropriate unusual power metal melody. The melodic death metal elements run along in the vein of a Amon Amarth or even later Carcass. This track is a monstrous roller coaster of emotion between the cleaner more melodic parts in balanced harmony with the deep tuned down melodic death metal portions. The spoken word section continues to elaborate deeper into the conceptual plot of the story on this one. The guitar wide open guitar solo really allows the listener of track and the album to begin to absorb the album.
The 11th Hour starts out with a open keyboard chord progression along with a dark and bleak spoken word section. Then the track takes on a ultra melodic approach with high ranged harmonies. This is briefly interrupted in spots by further melodic death growls and dark spoken word elements. All of those elements allow for the illusion of multiple characters or perhaps personalities within the mind of the main character. It is as if the music is reflecting these multiple emotions within the character , characters or personalities.
Psychedelic Torture Trip is a very intelligent instrumental track. It allows for the listener who is really following the concept to absorb the story even further. It also allows for the listener that just likes innovative musical time signatures and chord progressions to devour the album from a melodic perspective. The keyboards are obviously the signature of the one and only Derek Sherinian with his fusion style blended in harmony with Graham Keanes guitar passages.
God’s Of The New Age opens up with a wall of fury between the thunderous drum and bass rhythm section. The rhythm guitar also comes into play to add a very deep tuned down rhythm chord progression. This also allows for the cleaner vocals to pop and really stand out on the track to carry all sums of the parts in perfect harmony. Soon the melodic death metal growls come in. The death metal portions are very easily understood for those with a objective mind and ear. The chord progressions off the guitar are really modern progressive metal much like a Haken meets Leprous meets Zero Hour.
Analogue Spectre: (I) Reflection (II) Thought Data Stream (III) The Passing (IV) Amaranthine (V) Ghost in the Machine (VI)is the 18+ minute epic and final track to close out this epic conceptual story. It begins with some heavy keyboard effects with a spoken word section that seems like artificial intelligence speaking to the listener. The keyboards are a more vintage 1970’s keyboards that are more Pink Floyd. The drums slowly come in and soon the guitar and the grand introduction begins. Yes this track is for those listeners with longer attention spans. The track soon drops into a smooth guitar and bass rhythm section with the vocal briefly isolated before the track really picks up and we hear multiple vocals all in harmony with the stringed passages.
There are multiple parts to this epic that all begin to tie both the track and the entire album together. To those that listen for the story and music you will be able to understand this more and more with every listen. Throughout the epic the time signatures and chord progressions go from traditional progressive metal to modern more recent djent style chord progressions. This is truly a very guitar driven track due to the length of the composition. About half way through there is a break where there are some beautiful keyboard passages in harmony with percussion cymbals. The guitar once again takes the track to another depth and dimension.
In music or any form of artistic expression we are only limited by our imagination. The human imagination can be used to transport others imaginations to areas unknown if we allow it. The Vicious Head Society’s Abject Tomorrow is a dynamic example of the true power the human imagination really has. The Vicious Head Society’s Abject Tomorrow is a science fiction show set to music. The Vicious Head Society’s Abject Tomorrow is also the best independent/unsigned progressive metal concept album and artistic expression I have heard in the last 10 years. If this is the debut I will enjoy the journey to follow this new franchise. I am giving The Vicious Head Society’s Abject Tomorrow a very strong 5/5.
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