CHILD OF THE FUTURE

1. "The Ozzylot (Hidden in a Girl)" (4:30) CSN&Y (harmonized vocals), The ALLMAN BROTHERS (lead guitar work), as well as the early Doobie Brothers and Eagles come to mind while listening to this one. (8.75/10)

2. "Riding the Tiger" (5:25) U2 bass and drums with some Eric Clapton-like psychedelic lead guitar playing over the top. This definitely harkens back to the 1960s blues-rock of bands like CREAM, SPIRIT, and THE DOORS. Very impressive musicianship, but not enough melody and hook to it. (8.75/10)

3. "Whole Lotta Diana" (8:57) musically, one can definitely hear the inspiration of LED ZEPPELIN behind this one, but vocally--with the harmony vocals used throughout, one can only reflect on the BYRDS and maybe a little CSN&Y and/or THE MOODY BLUES. (17.5/20)

4. "Cornucopia (...or Satan, uh... Something)" (6:24) nice CREAM-like rocker with some interesting softer vocals and great drumming. (8.75/10)

5. "Mr. Victim" (4:17) more hard-drivin' blues rock that harbors strains of LED ZEPPELIN, CARAVAN, as well as the heaviest of the MOODY BLUES. This one suffers from some muddy engineering around the vocal tracks and the guitars. (8.66667/10)

6. "The Waiting Game" (4:57) slowing it down and thinning it out with acoustic guitars, bass, and some warbling distorted synth and electric guitar "noises" in the background. The stoned JOHN LENNON-like singing voice might not be Bent, but "Snah." Transition into BEATLES-like electric guitar chord sequencd at 2:50--a motif that becomes fully developed at the song's very end when the choir vocals sing in full BEATLES/BYRDS mode. Haunting and kinda cool. (8.75/10)

7. "Child of the Future" (5:00) sounds like ANDY PARTRIDGE singing over one of his angular, semi-irritating songscapes. An odd mix of the individual tracks for the drums, bass, guitars and vocals--sounding as if the whole thing was recorded through one single omnidirectional microphone. (8.66667/10)

Total Time: 39:30

I will say, these musicians sure are firing on all cylinders (drummer Kenneth Kapstad really shines): this album contains some of the band's best arrangements and most virtuosic performances; it's too bad it suffers from a few too many "borrowed" ideas and an overall lack of melody. Plus, I don't know what happened, but the sound engineering over the course of the last three songs becomes quite muddy with too much distortion and odd mixing.

B-/four stars; a nice addition to any prog lover's music collection--especially if you're a retro-lover of that hard rockin' blues-rock of the late 1960s.

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