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SEVEN IMPALE

Eclectic Prog • Norway


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Seven Impale biography
Six young men from Norway with a background in jazz and classical music were signed to Karisma Records. Influences they mention include Everything from Jan Garbarek and Side Brok Enslaved, Tool and Meshuggah.

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ContrapassoContrapasso
Karisma 2016
Vinyl$18.28
City of the SunCity of the Sun
Import
Imports 2014
Audio CD$9.88
$13.69 (used)
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SEVEN IMPALE discography


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SEVEN IMPALE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.09 | 245 ratings
City Of The Sun
2014
3.89 | 73 ratings
Contrapasso
2016

SEVEN IMPALE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

SEVEN IMPALE Videos (DVD, Blu-ray, VHS etc)

SEVEN IMPALE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

SEVEN IMPALE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.45 | 14 ratings
Beginning / Relieve
2013

SEVEN IMPALE Reviews


Showing last 10 reviews only
 Contrapasso by SEVEN IMPALE album cover Studio Album, 2016
3.89 | 73 ratings

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Contrapasso
Seven Impale Eclectic Prog

Review by Tapfret
Prog Reviewer

5 stars It's not often that I find myself doing such an about-face on an album. The amount of crow that was eaten during the second listen of Seven Impale's 2016 release, Contropasso, was staggering. I found myself fighting considerable bias toward the retro sound of their 2014 release, City of the Sun. I suppose as a self-proclaimed avid progressive rock listener, such bias should not be rote. The initial listen to the album found me considerably disappointed at the comparatively modern sound. But as further listening occurred, the textures and dynamic composition of the album shine through. So much so that it has become apparent that this is the album of the year for 2016, in this reviewer's humble opinion.

Vocalist / guitarist , Stian ěkland has a voice that, while being very enjoyable and dynamic in City of the Sun, became quite a bit more eclectic in this release. The style could be best described on the previous LP as having an almost late era Jon Anderson quality to it. And while that sound was present at times in Contrapasso, it was also contrasted by periods of very goth, almost Peter Murphy style deep vampiric tones. Almost to the point where I thought a guest appearance was being made by fellow Norwegian Czral of Virus/Ved Buens Ende. Additional sections of soaring glam metal style vocals are also present. It is a very deeply rounded conglomeration of vocal styles that deeply textures this release. its a facet of progressive music that can often lead to the downfall of a great album. In this case augmenting it substantially.
Adding to the, dare I overuse the word, eclecticism, are the arrangements themselves. While the aforementioned overall feel is less retro than City of the Sun, the aspects of arrangement are still very classically Progressive. The instrumentations tend to be quite a bit heavier than the previous release, to the point that one could almost understand the occasional "metal" label that's put on the album by various music media outlets. But the amount of contrast in both volume dynamics and tempo are undeniably Prog. Even in the darkly oppressive Languor, and almost electronica sound of Phoenix. And then there's the saxophone, which was almost trademark to the sound of Seven Impale on City of the Sun. Here we find it not so much subdued, but blended and far more complimentary than in the previous release.

As time goes by I find myself becoming more and more of a Norweig-aphile. But even in a country that is standing out as a flagship of fresh Progressive rock in the 21st century, Seven Impale have shone through a rather thick field of creativity. Contrapasso is one of, if not the quality release of 2016 and is easily recommended for any Progressive rock library. 5 bright stars.

 Contrapasso by SEVEN IMPALE album cover Studio Album, 2016
3.89 | 73 ratings

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Contrapasso
Seven Impale Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. SEVEN IMPALE are back! Yes this young Norwegian band created quite the buzz with their debut in 2014 finishing 3rd in the "Album of the Year" votes here. It was an album that almost perfected the marriage between Jazz and Rock. I liked it but wasn't as enamored as most were. It was actually the complaints about this new album that moved me to pick it up. Claims that they'd turned too experimental and that it was nothing like their debut moved me to check it out and I'm so glad I did. The vocals are more prominent and the horns continue to blast yet I like this better? Go figure.

"Lemma" is my favourite. I just can't get over how good the intro is, so powerful and heavy but it's the vocal expressions and vocals that kill here. The rhythm section drives hard and it's dark while the vocals are deep and theatrical. So good! Check out the dissonant horns when they arrive playing over top. Some organ runs too and then that rhythm stops after 3 12 minutes as powerful vocals take over in a dramatic soundscape. There's almost an IN THE WOODS... vibe here. Some mock laughter and words that make me laugh before 5 minutes then the music kicks back in with power. Another change after 6 minutes to a more Symphonic vibe with plenty of keys and drums to the end.

"Heresy" opens with drums and horns that beat and blast as expressive vocals join in. The vocals bring MOTORPSYCHO to mind, not just here either. We get a calm with bass and atmosphere before it re-builds as the organ joins in. It's full before 2 minutes then it calms down again before 3 minutes to an Electronic mode. Horns come in blasting at 4 minutes then vocals. An eerie calm after 6 minutes takes over and it's quite haunting to the end. "Inertia" opens with piano as a beat and atmosphere take over quickly then blasting horns and passionate vocals. It settles back some as the vocals and horns step aside but check out the drum work here along with the grinding guitar expressions. Nice. Horns and vocals are back after 3 1/2 minutes then the drums take over after 5 minutes but the organ is on boil here and soon the horns are coming and going, synths too. I love the sound they've created here. A change before 7 1/2 minutes as piano and atmosphere trade off with blasting horns until it's all atmosphere to the end.

"Langour" features drums galore to start, lots of beats and depth. It picks up speed and vocal melodies join in until we get a calm after 1 1/2 minutes. A beat and piano melodies are followed by horns and vocals. Another calm after 3 minutes as reserved vocals almost speaking arrive then horns and vibes as it builds. A fuller sound with synths and lots of depth follows then the vocals return. They stop as the horns return blasting away then they return before 6 1/2 minutes as the drums and horns dominate. "Ascension" is just over 1 1/2 minutes and it features lots of atmosphere, like we're out in space, some piano and bass too. "Convulsion" has outbursts of heaviness that will come and go, lots of horns. The vocalist pretty much shouts out the lyrics after a minute. Back to the all instrumental work and its bombastic. The vocals are back before 3 minutes then we get a change after 3 1/2 minutes as we get drums and bass standing out with some horns also crying out.

"Helix" is dark with a beat and I really like the keyboards. Then almost mono-toned vocals join in. I love the mood here. It starts to get a repetitive beat then a powerful section kicks in before 5 minutes then some extreme vocals as the organ and a very powerful soundscape helps out. It turns spacey with a beat and more then a calm with piano takes over pretty much to the end. "Serpenstone" is bombastic to startout before vocals and a calm arrive before a minute. Drums, organ and more join in as it starts to build. Outbursts of sound kick in before 3 1/2 minutes followed by electric piano, sax and a beat with reserved vocals. "Phoenix" opens with atmosphere as pulsating sounds take over. Samples of various conversations start to come and go until they stop around 3 minutes in. The pulses and spacey sounds continue. It's windy followed by outbursts of guitar around 4 minutes. It turns heavy with horns but then settles again with beats and more. Its building until we get a change before 7 minutes as we get this beat with spacey sounds. Horns after 8 minutes and this is getting intense until a spacey calm arrives before 9 minutes with pulses.

This will be on my end of the year list. They've amped it up quite a bit plus they've come up with some really interesting ideas. This is a band to watch for because I have a feeling they get bored easily and there's too much talent here not for us to benefit from that.

 Contrapasso by SEVEN IMPALE album cover Studio Album, 2016
3.89 | 73 ratings

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Contrapasso
Seven Impale Eclectic Prog

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

4 stars The future of progressive rock music is in excellent hands if it stays in the hands of young rockers like Norway's Seven Impale. 2014's City of the Sun was undeniably one of that year's best albums, but this one is better! Far more adventurous, experimental, confident (if that's possible), and bold. The band's infatuation with computer, electronic and radio-like sounds (sometimes in a way quite similar to the work of Holger CZUKAY in the 80s) is one area in which they have really branched out. The other would be in the variety of styles, sounds, and effects used for Stian ěkland's vocals. Both of these changes are, to my ears and mind, very positive and only help prove the growth and adventurous nature that the band is going through. Growth--and change--is GOOD!

1. "Lemma" (8:59) has a very pretentious feel of melodrama not unlike that of DISCIPLINE or BLACK SABBATH--only here, with Seven Impale, I take it all tongue in cheek--all for fun; for the band's amusement as well as ours. Musically, the song is a perfect vehicle for the melodrama taking place but then, out of the blue, there is a wonderful shift at the 6:15 mark which feels like it is a saving grace for all of the bombast that has come before. Awesome stuff! I love it! Great song! (10/10)

2. "Heresy" (7:16) opens feeling familiar in sound to City of the Sun though the melodic movement is more jazzy. When the vocals enter the 'old' Seven Impale is cast aside and we are brought into a world that is more farcical, more Tim Burtonesque. The song quickly develops into a storytelling vehicle in the same vein as MOTORPSYCHO's The Death Defying Unicorn, only compacted into a single, seven minute song. At the three minute mark there is the "Doldrums/Flotsam/Sculls in Limbo"-like interlude, followed by a spirited return to full dynamic force a minute later. If I hadn't heard TDDU I might give a little more credit to Seven Impale here--though their intent may just have been to show the world that an entire 80-minute rock opera could be adequately fit into a seven minute song. (8/10) 3. "Inertia" (9:09) opens with some eerie piano, bass, guitar noises, with drums before sax shows up to throw everybody in line with a nice staccato rhythm progressing over a cycle of several key changes. The vocals on Contrapasso, overall, are quite different than their debut--quite a bit more diverse and using quite a variety of effects--which I like. The band's growth, adventurousness and confidence must be very high. A very nice elongated REINE FISKE-like guitar solo in the third and fourth provides a buffer between the first and second vocal verses. The next instrumental interlude is awesome. In some ways similar to both "God Left Us for a Black-Dressed Woman" and, again, MOTORPSYCHO's The Death-Defying Unicorn, and yet completely its own. Here is where I notice that this album includes a much greater presence and use of spacey keyboards, effected instrumental notes (from piano, percussives, synths or guitars Excellent song. A top three and probably my favorite full-length song on the album. (10/10)

4. "Langour" (7:39) opens like a djenty song from LEPROUS or even MOTORSPYCHO--even when the organ, saxes, synths and vocalized melody join in. At 1:45 things quiet down into an ominously spacious, pregnantly potentialized jazz song. Stian ěkland's familiar voice enters fifteen seconds later with the force and presence of JIM MORRISON. At the three minute mark the music stops and we are left with only an irritating high pitched squeal and some wobbly guitar notes picked individually and intermittently. The vocal finish sounds almost like church choir-like--and then, to top it off, a church organ and tubular bells-like keyboard enter to finish the song! Theatric and wonderful! (9/10)

5. "Ascension" (1:37) uses a guitar (and, later, harmonizing piano) to spaciously recreate the arpeggio that formed the main melody for the instrumental exit jam from their last album's epic masterpiece, "God Left Us for a Black- Dressed Woman." Perfect title! Awesome idea! (10/10)

6. "Convulsion" (5:05) is, as the song's title indicates, a vehicle for the conveyance of some heavy stoner rock sonic convulsions. The echoed and delayed multiple-voice vocal delivery and shifts in song direction and style every minute or so also plays into the health-threatening feel of this music. The fourth major shift, into a kind of TOBY DRIVER postlude of psychedelia is odd and unexpected but effective when paired with the phrenetic predecessor and the typical end of peace and calm that follows a convulsive attack. I really like the tight, compressed feel of the first two thirds of this song. (9/10) 7. "Helix" (9:16) opens with synth bass and drum time kept on a hi-hat. The group vocal that joins in creates another KAYO DOT-like sonic environment. While not as starkly earth-shaking as the typical Toby Driver delivery, there is an effective mood conveyed here--one that feels as if it is slowly building in potential energy ready to be released in some kinetic explosion. Then, at the four minute mark, things quiet down (the calm before the storm?) for about a minute before, yes, the caldera blows. Hoarse, screaming vocals add the icing to the cake, until, just as suddenly, at the six minute mark everything settle back into a quiet, resting mode--though the melodies and chords interjected by the bass, keys, and saxes are quite ominous--quite filled with warning of more doom impending. Even the piano interlude in the eighth minute holds so much warning. Again, it's like the calm before the storm. But then, oddly, the music switches to solo treated organ and the crescendo never recurs. Until the opening of the next song... Not a bad song, it just feels unresolved and incomplete. (8/10)

8. "Serpentstone" (7:20) opens quite heavily and then downshifts into a really nice, full-band ominous groove. This groove turns into a nice multi-layered instrumental section in which synths, saxes, and guitars are weaving within a deep, dark subterranean tapestry. A great vocal takes over. Again I must reiterate how remarkable it is that the effects and stylings of Stian's voice are so different from City of the Sun. Cool song! One that I know will continue to grow on me with repeated listens. (9/10)

9. "Phoenix" (11:14) opens almost like a 1970s hip-hop rap with a bouncy melody line in the low end while chopped and echoed vocals from some British television comedy show (or shows) play along with. The vocal sample track comes to an end at the three minute mark as a female voice says, "This is just freaking me out," which is then immediately followed by a deep male voice laughing, "Ha, ha, ha, ha, ha!" The odd carnival-ish hip hop synthetic rhythm continues while sax and other instruments join into the mix. It all seems so until 5:25 mark when heavy bass, guitar, and drum riffs enter and establish dominance. When synths join the song takes on a bit of a JAGA JAZZIST Starfire sound/feel to it. The final two minutes find the song meandering into the realm of space-radio wave soundscapes. Interesting. This one, I have to admit, does not please me. I feel as if the band has almost wasted some of my time--11:14 of it, to be precise. Too bad. (6/10)

My long-lasting question after listening to Contrapasso a couple of times is: Are the boys intentionally showing off their influences? And, if so, are they doing so out of respect or out of an attitude of "anything they can do we can do, too (. . . if not better)???

Not quite as consistently high as their debut album but I definitely like the fearless exploratory nature of the band's energy here--and I hope the mixed reviews are not enough to discourage the band from continuing to experiment, take risks and grow.

 Contrapasso by SEVEN IMPALE album cover Studio Album, 2016
3.89 | 73 ratings

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Contrapasso
Seven Impale Eclectic Prog

Review by javajeff

4 stars I was reading a review from another reviewer that mentioned groups like Beardfish and Van Der Graaf Generator, so I was immediately intrigued since those are two favorites of mine. I gravitate towards eclectic stuff since I find it interesting, but I also still love a good symphonic piece. Contrapasso is a very good album on it's own, but it is more experimental than the superb City Of The Sun. I actually hear many similarities to Motorpsycho, another Eclectic Progressive Rock band from Norway. There are times like listening to the track Inertia, where I could stick that right in the middle of The Death Defying Unicorn. There is also an injection of space rock in the mix. The vocals are very different on Contrapasso, with a deeper darker tone than the more softer singing approach on City Of The Sun. Contrapasso is a worthy addition to any prog lovers catalog. If you are new to Seven Impale, I would start with City Of The Sun first.
 Contrapasso by SEVEN IMPALE album cover Studio Album, 2016
3.89 | 73 ratings

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Contrapasso
Seven Impale Eclectic Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

4 stars

After a great first album, the band is back with this new album. Could they match up the first one? After playing together for 2 years, the band is much tighter and it really shows in this new work. From the opener "Lemma", we are in space territory with a big voice from the deep and the sax of Benjamin Widero who will be a highlight throughout this album. There is a break with a funny atmosphere, but the song switch to more dark melodies. "Heresey" brings a female voice, a Frank Zappa like part and some strange time signatures and strange keyboards passages remind me of VDGG. "Inertia" brings the first psychedelic guitar solo between some furious sax passages. "Langour" is where the album is starting to pick up with some brilliant music! The band is switching from the intensity of the heavy guitars to the calm piano and bass lines. There's another type of vocal harmonies here, some Jazzy parts and weird synths. The sax plays in a different mode. "Convulsion" has some brilliant bursts of energy and breaks with vocals and music that remind me of Killing Joke. We are again in some dark territory where the melody is built slowly in the fusion of the vocals and the instrumentation. "Helix" has some cool synths effects, dark atmosphere, and various piano/keys tones. The band is playing with many tempo changes.In "Serpenstone", the vocals are quite unique and the melody is again building his momentum slowly with some beautiful keyboards in the Beardfish style, an influence that is spread out all over this album with many others of course. The last song starts with samples of conversations with some strange atmosphere, spacey keyboards, ambient passages and a special guitar break.The song was meant to slow things down after all the previous intensity. If this long song is not the most impressive track , it end up very well the album. If you enjoy adventurous music and are not afraid of dissonant music, oppressive atmosphere covering different styles, this is an album to look for.

 City Of The Sun by SEVEN IMPALE album cover Studio Album, 2014
4.09 | 245 ratings

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City Of The Sun
Seven Impale Eclectic Prog

Review by Porcupineapple

5 stars Did you ever wonder what an ambitious jazz player drowning himself in progrock might sound like? Seven impale has the answer for you with this album.

We are looking at a young formation hailing from Norway, which consists of six men with a background in jazz and classical music, obviously having a strong crush on progressive rock. Trying to blend all this in one might be risky, which is exactly the feeling you might get during the first listen of their new album. By the time it ends, you will find it difficult to wipe the WTF face expression off your face, making you hit the repeat button to give it a second go. And if you are opened for something new, that is when you will realize that Christmas came early this year, as this album is nothing but one of the best from 2015.

Tricky time signatures get jazzed up here (literally) by progrock beats crossed with wild saxophone runs, as the dreamy versus proggy parts eventually give way to beautifully controlled chaos. Whilst the end result is difficult to be compared with anything, it does remind you of a jazzy King Crimson or Anekdoten at times, whilst exceeds those in a way also. And although the album only rambles on through five songs, each of those will have a surprise around the corner, such as "Oh my gravity" or "Eschaton horo" throwing some dirty and ruthless progriffs in your face emerging from the jazzy soundscapes, or the closing track ("God left us for a black-dressed woman") focusing more on the melancholic bit, eventually ending the 14-minute-long song and the whole album in such a mighty and epic way that you will be left to beg for more. And although with these three songs to album sets the bar high enough for the other two not to fully live up to these, all in all it is a rewarding journey through these different (and yet similar) genres. It is not an easy listen, but is an ambitious project, as well as a beautiful marriage between jazz and progrock, at the same time paving the way into a promising future for these six young prog-jazz freaks.

 City Of The Sun by SEVEN IMPALE album cover Studio Album, 2014
4.09 | 245 ratings

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City Of The Sun
Seven Impale Eclectic Prog

Review by ergaster

4 stars 4.5/5

This was one of those albums that came out of the blue. A recommendation from a friend, he also provided the warning: "give them a chance" -- which can be regarded as either a challenge, or a red flag. And the first time I played the album, I knew exactly what he meant: I spent a lot of the time thinking, "What the hell is going on here??" But I also got that feeling...the one where I have no idea if I liked what I heard, but there was something. Albums that start out that way, that leave me bemused and intrigued, that demand revisiting in order to make sense of them, often end up being long-term winners.

Who are they? A six-piece from Bergen, Norway. What are they? Well, it is hard to describe what they do. Psychedelic jazz-rock-fusion, lots of saxophone winding all through prog-like songs, they sound deceptively loose and crazy, but don't be fooled. What we have here is masterfully-controlled chaos.

While they do not really sound like any of those bands, they are reminiscent of Soft Machine, Quiet Sun, a bit of jazz-era Crimson. Each song is a surprise, the way the elements are all intertwined, sliding smoothly from raucus disorganized noise to nice melodic themes, changing up the time signatures but not in that self-referential way that too many modern prog bands tend to do--when it happens, it's like it takes everyone by surprise, listener and performer both.

Every time I play this album, I am surprised how much I like what I hear, because otherwise every musical instinct tells me this is not the kind of thing that holds my attention. But these guys are the real deal. They don't sound quite like anyone else, and sometimes they sound less like a band than a loose collective of people wandering in and out of the songs at random. If you do choose to listen...well, give them a chance.

 City Of The Sun by SEVEN IMPALE album cover Studio Album, 2014
4.09 | 245 ratings

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City Of The Sun
Seven Impale Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

4 stars Norway seems to be churning out the bands these days and SEVEN IMPALE is another new band who have received a lot of adoration by Prog fans world-wide. In fact on PA here their "City Of The Sun" album was voted the third best recording of 2014 which is very impressive. I almost feel like I have to explain why i'm not giving this five stars despite being very impressed with it overall. For me it's the blasting sax. And it's not that it turns me off per se but it just really isn't my thing. "21st Century Schizoid Man" is an example of blasting horns and while I appreciate that track and gave the album 5 stars that song just doesn't resonate with me. And I love horns too but just not the blasting style. Okay I think i've made my point. Just my tastes that's all.

This is a six piece band with two guitarists, one being the vocalist along with bass, drums, keyboards and sax. They are a young band with varied influences who have come up with a beauty here in "City Of The Sun" which is a great title, and I dig the album art as well. They really do the bombast versus mellow sections really well and I have to say the final track "God Left Us For A Black-Dressed Woman" has to be one of the best songs of 2014.

"Oh, My Gravity!" opens with the sax gently honking as other instruments join in gradually. It settles in after a minute then builds in intensity. A change follows as we get a guitar/keyboard section before the vocals, drums and sax return. A calm 4 minutes in as the vocals and a mellow sound take over including organ. It kicks back in and man this is intense. The sax is blasting again then we get some ripping guitar after 6 minutes. A killer instrumental section arrives 7 minutes in and vocals return a minute later. Some great sounding sax before 9 minutes. "Wind Shears" opens with a relaxed sound as reserved vocals join in. I really like this. Sax and a jazzy sound arrive as the vocals step aside. Vocals are back before 3 minutes then they stop as it kicks into gear heavily. Another calm arrives as contrasts continue.

"Eschaton Horo" opens with keyboards that are followed quickly by a full sound. A calm a minute in as fragile vocals join in. Some lazy sax excursions before 2 minutes as it stays mellow. By the 3 minute mark the intensity kicks in as we get outbursts of power. It turns even heavier before 5 minutes and there's some cool sounding guitar here. It all stops as the band yells at 6 minutes then it kicks back in. Another calm from 7 minutes to the end. "Extraction" is fairly bluesy and we get an all out blitz early on with drums, guitar and organ leading the way. It settles back as the sax arrives then these passionate vocals almost shout the lyrics as the music becomes more powerful. It settles back again as the vocals continue but in a more laid back fashion. Themes are repeated.

"God Left Us For A Black-Dressed Woman" is my favourite track and it's almost 15 minutes in length. Picked guitar to start as the sax and liquid keys take over. Drums and more follow. I love the deep sounds before 2 minutes then it starts to pick up. So good. A calm before 2 1/2 minutes as the vocals arrive. Man this is good. Then the tempo and mood begins to shift at will. An experimental section arrives before 7 1/2 minutes then we get outbursts of power until it calms right down with sax and more. Reserved vocals are back. It's heavy again at 9 1/2 minutes before it settles in with vocals. Love the keyboards and guitar. It's so uplifting 13 minutes in then we get a big finish.

A very solid 4 stars and the future certainly is very bright for this young band.

 City Of The Sun by SEVEN IMPALE album cover Studio Album, 2014
4.09 | 245 ratings

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City Of The Sun
Seven Impale Eclectic Prog

Review by steelyhead

4 stars The best album that came out in prog in 2014. Period. There's too much to like here: the swift changes of rythm, the urgency of the vocals, the sultry sax, the manic moods in the drums.

This is so intoxicating It is like having blended VDGG and King Crimson into one.

I really hope this guys keep together enough to produce another couple of CD's more because running to this in the morning makes my heart flutter with delight. Pretty much recommended to anyone who is a serious in prog as I am (don't worry, if you are reading this, of course you are).

 City Of The Sun by SEVEN IMPALE album cover Studio Album, 2014
4.09 | 245 ratings

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City Of The Sun
Seven Impale Eclectic Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

5 stars Norwegian band SEVEN IMPALE was formed back in 2010, and has released an initial EP and one full-length album to date. "City of the Sun" is the name of the latter, and it was issued through the Norwegian label Karisma Records in the fall of 2014.

Seven Impale has released quite the impressive debut album, a quirky, sophisticated and challenging ride that blends jazz rock, progressive rock and arguably even progressive metal into a cohesive and rather appealing brew. Dreamladen and careful, even frail at times, but also bombastic, aggressive and at times more than a little bit complex. With a strong groove, and always with a good ear for melody as well. Highly recommended, especially to those who prefer their progressive rock to have strong ties with jazz as well as being challenging and demanding on multiple levels.

Thanks to epignosis for the artist addition.

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