SUMMIT

SUMMIT SEVEN IMPALE I find it difficult to grasp how an album should approach the listener. In a way I always insist in the notion of a narrative, in the case of this particular album four cohesive pieces revolve around heavy prog pandemically infected by jazzier strikes. A hunter and three mythological creatures coerced to live with another.

Hunter starts with soft and slow piano notes and similar to the pandemic, in a blink of an eye all gets violent, loud and heavy, using all the instruments the band is familiar for. But there is no growling whatsoever in Stian Økland's voice. Syncopation of saxes, piano, flute, cello guitars constitute a sound so incredible. The reminiscence to VDGG is not uncanny, tribute or no, it makes sense. 10/10

Hydra is a masterpiece of counter-infections: Sometimes is the jazz in the band turning a heavy, almost metal, piece into something else. At times the experimentation takes the main role, almost licking the tongues of Avant Garde movement (RIO). Then suddenly as in most prog music, it all goes quiet for a little bit, before pugging the audience back into this chaotic milestone. And then! Keyboards at 7 minutes! 10/10

Ikarus: The sun burns him down before even flying to close to the sun. It starts so violent, almost feels like Opeth openings! The flow changes abruptly into noise (saxes burning) and from that glow it transcends into (drumming evolves) the chorus (reminds me of Haken). And as it came it disintegrates into a marvelous section with an almost big band feel to it. 8/10

Sisyphus: It starts mysterious enough, cutting and developing. It's by far the jazziest of the four. The vocals though really provoke mourning (Cardiacs meet Thank You Scientist). And suddenly it's really heavy/soft as if Tool was infected by chromosomes of VDGG. The Chorus, higher and higher, reflects the mission. It becomes heavy enough so that at around 5:30 there's space (foretold) for a soft jazzy interlude. They just continue making progressions on the theme until it's mature enough (after some vocals and chorus). And at around 9:30 the thing really kicks in with a wonderful piece of jazz approached prog. I think of Jagga Jazzist at their proggiest. Just sublime. Guitar and piano in the back and the winds on the front, really amazing, and this consisting in itself in the closure of the album. Sysyphus all around in the repetitions but not in the futility of the doing. 10/10

What a wonderful album!