DOMINICI

Picking up where 'Part 2' left off, 'O3: A Trilogy Part 3' is practically identical in every way. The production sounds the same, the music sounds the same (although it's certainly a lot heavier and more intense this time around), the vocals and lyrical content for the most part is all the same, this really is just a continuation of the trilogy.

And it's a damn good one, at that.

Bringing a close to Dominici's trilogy, the storyline itself is somewhat over-the-top and almost convoluted. It makes sense, but it certainly takes a lot of twists and turns that steer it completely off-path from where the story started. Not that that's really a criticism or anything, as the music itself is still fantastic and will definitely please fans of the genre. A true highlight of this album is the guitar work of Brian Maillard (who?). This guy has some incredible chops and holds the distinction of playing some of the heaviest riffs known to man. 'King of Terror', 'Liquid Lightning', 'Hell on Earth' and 'Revelation' are relentlessly heavy assaults on the listeners senses, and a sure treat for fans of heavy music, progressive or not.

With songwriting and musicianship that seems a lot more polished, tighter and consistent than before, this is, in my opinion, the best chapter of the trilogy, and brings to a close a fine collection of albums that belongs in every progressive metal fans collection.

Barely anyone paid any attention to it. But that's okay, because the second part of the trilogy is here to rectify that.

'O3: A Trilogy Part 2' is all-out balls-to-the-wall progressive metal, and takes the singer right back to the genre with which he is most well known. Full of some absolutely bone-crushing riffs, intricate song structures and the over-the- top musical passages associated with this style of music, Dominici's return/debut (as in, the man himself and the band respectively), successfully manages to make up for the shaky start this trilogy got off on.

With songs like 'Greed, the Evil Seed', 'Nowhere to Hide', 'The Calling' and 'The Cop', Dominici is a band who sound like, and will appeal to fans of... you guessed it... Dream Theater! Amazing vocals and top musicianship make this an album every progressive metal fan should look out for.

Opening with a daunting 8.5 minutes of instrumental work to kick things off, it's clear that these guys are setting the bar high from the start. What's refreshing is the lack of wankery and useless mechanical shredding that's become so common in progressive records these days. As soon as the song wraps up, a narrative section segues into the next track, "Nowhere to Hide." These segments are what move the plot forward as the album goes, and this seems to be the story in a nutshell: A sleeper cell preaches against societal evils while in America and gets wrongly convicted by the law. Dominici does a commendable job keeping the character convincing throughout the album with the conviction in his vocal performance.

One thing that's extremely pleasing about all this is how tight the band sounds; nothing ever sounds out of place, and the songs rarely sound aimless. For instance, look at highlight "Greed, the Evil Seed"; the initial riff sounds a tad generic, but the way the synthesizers layer over the heavy guitar work and the drum work stays varied throughout makes it so the listener doesn't get bored until Dominici's vocals spice things up.

If there was an album peak or centerpiece, it'd have to be "School of Pain." I could go on for HOURS about how good this song is... between the way the guitar sends the listener into an Agalloch-style pit of depression, how immensely effective Dominici's vocals are in sounding like he was really thrown into the hell his character was sent into, and how smoothly the transitions in dynamics are in the song. Everything feels like it was put here for a reason, and the atmosphere is exceptionally powerful.

If there was any flaw, I'd say it's the fact that occasionally the band fall into that Dream Theater-style trap of repeating riffs or motifs; this doesn't happen often, but sometimes over the course of the album you'll find two songs sounding really similar when put side to side. It's a minor gripe, though, a small blemish on an otherwise excellent record.

Many bands and artists try the whole concept-album route these days, but Dominici and co. are able to pull it off WELL, and have damn good progressive metal to boot. Highly recommended.

(Originally published on Sputnikmusic)

Dominici stuck with the plan that had served them well on "O3 A Trilogy Part 2", for the conclusion, "O3 A Trilogy Part 3". The result is a fitting finale to an interesting and original concept, that keeps the sense of fun and drama going admirably. Music-wise, I have nothing much to add to my review of part 2. The rhythm section is pounding away energetically, the production is still good, the keyboards are just as essential as before, bass follows well though doesn't dominate much, Brian Maillard continues to dazzle on guitar, and Charlie continues bringing this original and imaginative concept to life with his vocals.

Whilst not quite as consistent at part 2, which I marginally prefer, "O3 A Trilogy Part 3" serves as a fitting climax to this enjoyable and unlikely trilogy. In fact, the last song, "Genesis" is probably the best that Dominici has to offer across the whole trilogy, dealing with the aftermath of the apocalyptic catastrophe unleashed by terrorists, as aliens come down and explain everything. What fun! It provides and epic ending to an epic trilogy, Charlie Dominici adopts a harsher singing voice for the aliens, and the instrumental power is very much set to 11. The song ends with the first words of the introduction in "O3 A Trilogy Part 1", the line 'Why was I planted here?' as detective Anthony Dam (A. Dam) is left to recreate society by the alien overlords.

I think overall the the ambitious O3 trilogy is a success, and worth hearing for prog metal fans, especially those interested in Charlie Dominici. There is nothing groundbreaking here, but there is a lot to enjoy, and one thing we can say for certain is that there is an impressive amount of life left in Charlie Dominici after all these years.

If there was an award for greatest difference between two consecutive albums by a band, Dominici would definitely be strong contenders. Certainly I can't think of any trilogy with such a sudden jump in style. Whereas "O3 A Trilogy Part 1" was nothing more than an admittedly pleasant acoustic album, "O3 A Trilogy Part 2" brings the Prog-Metal. This is probably what people were wanting (and expecting) when they heard that legendary ex-Dream Theater vocalist Charlie Dominici had decided to return to the musical world.

By far the most dominating influence is (suprise, suprise) Dream Theater. Instrumentally speaking, Charlie Dominici has gathered around him most of the band Solid Vision, so this should come as no suprise to anyone who has heard their work, or the work of any of the Maillard brothers. Brian Maillard in particular impressed me with his skill on guitar, though everyone involved brings a high level of musicianship.

The music is a bit different though. For one, Dominici's voice is nothing like how James Labrie sings in DT, how Dominici sung on "When Dream And Day Unite", and indeed nothing like his singing on the first album of the trilogy (for the most part). The compositions also eschew some of the more wildly proggy moments of Dream Theater in favour of a heavier more metallic assault. Essentially though, this is a pretty classic style melodic progressive metal record.

The story aspect is continued on brilliantly. I wont say much about what happens, but following on from the last album the policeman trying to capture the terrorist is explored in several songs, and the terrorist himself reflects on his own morality, and the state of the world. There are a lot of voices and sound samples to help bring the story to life that work well. The greater sonic diversity, and especially the different voices that Charlie Dominici use also give this album a lot more depth than its predecessor. Americo Rigoldi also uses his keyboard intelligently to guide the various moods of the album, whether subtle or dramatic, as well as to do musical battle with the guitar solos of Brian Maillard.

The songs are generally of a good standard, nothing that will redefine progressive metal to be sure, but the band sounds energetic and enthusiastic, and it's difficult not to find this an appealing quality. If I had to pick out some highlights I would say that "The Monster" and "A New Hope" are the obvious candidates, though there are good moments in every song. "The Monster" opens the album as a powerful metal instrumental moving through a good variety of sounds, letting us know straight away how much of a band effort this album is going to be. It's good to see that despite the name of the band being "Dominici", Charlie is not afraid to let his talented band flex their instrumental muscles whilst he takes a back seat. The final track "A New Hope" is a real powerhouse of a song. It builds really well in intensity, to a grand finale that reprises a theme set out in the first song "The Monster". Brian Maillard's guitar really soars over the dramatic sounds of the rest of the band in the finale, before a quieter version of the theme plays us out, leaving us on a musical as well as a lyrical cliffhanger, ready for the final part of the trilogy.

It is the effort that has been put into the lyrics and vocal performance that really helps tie this album together. It feels like the people making this album actually cared about making something cool. For all the fun in the musical side (and that is done well), I think this is one of the things that best sets apart Dominici's trilogy from the hundreds of other modern progressive metal bands out there today.

"O3 A Trilogy Part 1" is very much the odd one out of the trilogy of albums put together by ex-Dream Theater singer Charlie Dominici. Whereas for the next two instalments he assembled a virtuoso team of Prog-Metal musicians, for this one it's just Charlie. He plays acoustic guitar, some harmonica, and sings, and not much else.

The story of the trilogy follows the plight of a terrorist and a policeman trying to stop him, leading up to the revelation of an apocalyptic weapon and the unleashing of Armageddon. The story aspect is done really well throughout the trilogy, offering us thoughtful portrayals of the characters on both sides, and the struggles they must go through, all set to an exciting and grand concept.

Maybe its the interesting lyrics that mean that despite the minimal instrumentation of "O3 A Trilogy Part 1", the album easily holds your attention for its duration. There are quite a few memorable songs, and my favourite is the surreal "The Dream", following the half symbolic, half nonsensical dreams of the terrorist protagonist.

Charlie Dominici's voice is very different to his time in Dream Theater, it's toned down and fuller to better gel with the instrumentation. You wont hear any of the high notes from "When Dream And Day Unite", and in fact I doubt he could hit them any more. His voice is confident and assured though, enough so to primarily drive the songs in the singer/songwriter manner he has chosen.

Prog Metal fans be warned - this is not the album you are looking for! Whilst I do enjoy this album a lot, there is not a single progressive or metal part to it. If you are planning to listen to the other two albums in the trilogy though, it would be a good choice not to miss out on "O3 A Trilogy Part 1", as it is a perfectly enjoyable acoustic (non-prog) album, and without it the trilogy will feel incomplete.

Odd, since there's no separation at all from this and the previous record.

It's a bit more refined style that Dominici has developed here, and a more unique style at that. He finally managed to come into his own here. Just, one problem though; it's boring.

The entire album is boring.

The concept is still brilliant, and "King Of Terror" captures my attention, but fails to develop. It's simple, straight up progressive metal, like simple, straight up bourbon. Both are terribly by itself. They both need substance, flavor, that extra spice to make it something special. "Liquid Lightning" is one of the most interesting of the tracks, but I'd still prefer a DT album compared to this.

It's almost a "same song, different song" format, especially with "Enemies Of God". Again, it's straight up prog metal, just rehashed in a different way to become a different track. "Revelation" is more interesting as it starts off in a nice "Iron Maiden"-esque bass line (almost sounds like them at times) as the end of the album comes into sight, and tracks improve as well as "Hell On Earth" comes o....

Wait, I spoke too soon. Guess Dominici still wants to imitate DT.

It's not bad though, I must say. Even though I bashed Pt. 2 because it was too DT sounding, "Hell On Earth" starts off in DT fashion, and it's not bad. Then it gets heavier, slower and Dominici just throws up on this song.

At least he goes out with a bang. "Genesis" is probably the most worthwhile of tracks here on this record, and guess what it sounds like most?! I must say, though, it is well played, well recorded and well composed. Unfortunately, it didn't exactly save this album from failure.

So, Dominici couldn't save his job with Dream Theater. He couldn't make an album that sounded like Dream Theater, and yet he could make a good album without imitating Dream Theater in some of his songs!

Maybe Charlie should get an account on ProgArchives here. Save his reputation a bit.

Wait, this isn't DT? Then why the hell does it sound exactly like them?

Guess someone still has some pent-up angst for getting dumped almost 15 years ago.

Obviously pissed off that he got trashed in the can from a band that now is living in in the proverbial "hall of fame" of prog bands, Charlie Dominici obviously wanted to get in on the action. His first album was acoustic, so this is technically his first album. From an aesthestics standpoint, I'm drawn in to the fancy album cover and the first track intrigues me. Yet, once you dig in deeper, you realize one true fact. Dominici obviously had NO intention on being innovative for this album.

The concept is there, and I'll give him two stars for the concept alone. A story about a life- changed suicide bomber in America spanning 3 albums is very ambitious to say the least and is definitely one worth applauding. But, unfortunately, those are really the only positives I can take from this disc. Dream Theater fans have scalded me for not liking this album simply because I am a diehard DT fan and that I just can't really get into this album.

Right from the start "The Monster", the riffs and chords are recognizable, and since this trck is instrumental, I'm all for it. Yes, I'm a little upset that Dominici doesn't have the slightest bit of ingenuity in his head to make an album that differs at least a little bit from Dream Theater, but as for as aesthetics are concerned, he hits it right on the head. If I didn't know and memorize ever single Dream Theater song and listened to "The Monster", I could easily mistake it as a DT song. From the riffs, to the acoustic interlude to the all out blitzkrieg solos at the very out, the whole song just screams Dream Theater. The conversation at the end of the track could have been staged better but in all senses concerned, my attention has now been gained, and further exploration inside this album must commence, and it's a promising beginning.

And then Dominici starts singing. And I immediately start looking for the nearest power drill so I can shove it in my ear.

This is a clone unlike any other. The chorus' are DT esque as usual, but during the verses where it's just Dominici and no overlap, it's a sound that reminds me of Godsmack covering "Good Times Bad Times". They both sound like crap. Litteraly. This is Dominici pretending to be who he isn't. There is a reason why Dream Theater gave him "das boot", because he can't sing like James LaBrie, therefore, he shouldn't sing for Dream Theater. Did that deter him for releasing an album that sounds exactly like Dream Theater's "Train Of Thought"?

Nooooooooooooooo.........................

Before I start pissing people off, Pt. 3 is the better of Dominici's trilogy, simply because it's a more refined Dream Theater clone and Dominici realizes that he can't hit the high notes that LaBrie (used to) hit (even though he can still hit pretty high in the register). But this particular disc can almost be mistaken for a demo of all things! "Captured" is just another example. Dominici is just s***s the bed everywhere all over this song. Not only does he sound terrible, his songwriting is terrible as well! The instrumentaion is all fine and dandy, it's just Dominici himself can't sing DT's style of prog metal!

And when you sound terrible on the record that bears your own name........

Song after song is like grain of rice after grain of rice. You may get a brown grain of rice or an abnormal grain of rice, but it's all still rice. Yes, I just did it. I compared this album to grains of rice (now I know I'm an asshole). "School Of Pain" is approached differently compared to "Greed The Evil Seed", but it all just seems to end the seed. This entire disc sounds like a broken record, and I'm getting rehashed versions of Dream Theater. If I'm wrong, then so help me, do me a favor.

Listen to "The Calling" of this disc. Then, search for Dream Theater's "Train of Thought" and listen to "Honor Thy Father". If you can't realize the riffs are exactly the same, you need your freakin' head checked. Then Dominici starts singing and kills the song again. This is where I just stopped and ran outside my house and started covering my face in my hands. Then I went back inside and made myself a sandwich listening to The Rolling Stone's "Wild Horses" on the radio.

All in all, if you love Charlie and his voice, get this album. If you think he's a chump, avoid this disc like the plague. I wish I could give this an extra star, but it's just not worth it. It's like trying to sell a lump of dog crap for 5 cents simply because it's the nicest pile of s*** you've seen.

I love the guy, but his music? Ehhhh.... that's a whole different story. 1 star for the concept, but nothing more, I'm afraid.

At last, we have the final installment of Dominci's epic trilogy, 03, the story of a terrorist who's mission was to essentially end the world by converting 02 (oxygen we breathe) into 03 (ozone, poisonous to breathe). From each edition, Dominici tweaks and messes with his sound. On the first album, he debuted as a solo acoustic guitar/singer, on the second he debuted his top-notch Italian prog metal band in an epic foray of great progressive metal, and on his third album, he continues this prog metal, but mixes a great many spices (some of them a wee bit stale) of traditional metal and thrash metal that dampens the great taste he had on the last album. Now, the last album was essentially another Dream Theater album with Vanden Plas mixed in, but it was still a great album. On this album, he tales all that and adds some not-so desirable influences. The album as a whole is good, but it's not spectacular. For the plot, it has broken completely from the main character (who has presumably died) and focuses on the entire world as an omniscient character, with some focuses on the detective (apparently named Anthony Dam).

The King of Terror outlines the current state of the world at war. It talks about the absolute chaos the population is currently in, after the massive explosion/terror attack that the main character had initiated. Musically, the song is quite diverse, starting out as a slow and somber track, but at one point it blasts into a metallic fury, which is actually quite a blast. The music is a little boring at times, but the lyrics, as always in this trilogy, are actually quite creative and poignant.

March Into Hell continues with the story of the chaotic state of humanity, delving deeper into the fact that the apocalypse is coming quite soon (if it hasn't already happened). Musically, the song is a little harsh. Dominici really strains is vocal chords this time with some crunchy vocals in the verses... it's a little alienating. The music sounds a little traditional, with some interesting instrumental sections and some pretty simple soloing, not like the complex solos heard in the last album.

So Help Me God focuses on the Detective Anthony Dam. Dam is praying to the Gods who he blames for the most part for the tragedy. He prays to stop it and get him out of this, which is legitimate. Some really great lines can be found in here lyrically, with some fantastic meanings. Musically, this track is another "eh" track. Of all the tracks, it is the most "eh" track. I mean, it borders on pop. Everything about it screams cheesy ballad, which is a little sad for the great metal man Dominici.

Liquid Lightning is one of my favorite tracks on the album, with some actually pretty cool riffing and instrumental and vocal pieces happening through the album. This track details how the armies of the world are experiencing the first signs of divine or extraterrestrial influence in the wars. This shows how the Anti-Christ wars detailed in the book of Revelation (I'll get to that in a second) are beginning. Musically, as I said before, this song for the most part ends the trend of boring tracks on the album. However, this track is one of the more Metallica-inspired tracks with a little but more thrashy roots, with much more "prog spice" thrown in as well, making this one of the better tracks on the album.

Enemies of God (the first 10+ minute track he's made! hooray!) is the next in line for this album's better tracks. This track details someone's (most likely the detective's) experiences with some kind of capture (most likely of a divine nature). Musically, it is again pretty interesting, with a lot more divergence from the typical thrash metal of the rest of the album. Typical of any good "epic", there is some really nice dynamic changes, from the hard metal to a softer proggish sound. Overall, this is one of the better tracks on the album.

Revelation is, sadly, an "eh" track in a chain of great tracks. Lyrically, it is essential, detailing how the detective dug "deep" and found a long lost (gasp) bible! In the bible, he found the (gasp!) book of Revelation, which essentially told the same story as what was happening around him. Musically, I call it an "eh" track only because the tracks surrounding it are bounds better than it, but it is bounds better than the tracks before Liquid Lighting (the "very eh" section). The music can get a little but traditional pop-metal at times, but then it breaks into some really cool experimental soling and prog metal-sounding soloing.

Hell on Earth is a good track, although Dominici's vocals sound rather strained again. It tells of the Gods' disappointment with humanity because of their failure to do anything they (he? she? it? I don't know) told us to do. Musically, the song is rather interesting, with some rather creative sections, and some more traditional sections, which continues the amazing continuity of traditional metal throughout the album.

Genesis is no doubt the best track on the album. Nearly no boring repetitive metal sections are found in this quintessential track. This track, lyrically, is purely amazing. The God's take Anthony Dam, the last living human on earth to a secluded garden where he is to live the rest of his days. His name tag when he is first captures reads "A. Dam," so the divine figures refer to him as Adam. They take some human DNA from his ribcage to make a female counterpart for him so they can live in harmony, restarting the cycle of life. Musically, it is spectacular, opening with an infective little proggy riff on the keyboards, which quickly is matched by the guitar, bass, and drums. This creative riffing changes throughout the song, but is still incredibly proggy and creative. The song puts such a great twist to the story and ends the trilogy spectacularly. Bravo!

ALBUM OVERALL: The epic conclusion to an epic trilogy is... not as epic as I just made it sound. At the forefront of this album, one may begin to believe Dominici had fallen into the grasp of popular metal. The music is a stale combination of the prog metal that most of us love, and the thrashy metal that most of... don't. As the album progresses (how fitting), the music gets progressively (ha ha) more progressive! Traditional song structure breaks down, songs get longer, all that good stuff. The story line is really what holds this album up above a lower rating, however. Dominci's lyrical skills haven't diminished since he helped Dream Theater way back in 1989, and this album's great lyrics and story really hit a chord. Overall, 03 part 3 is good, but it's not a must-have. 3+ stars.

It's not a surprise that the former singer of Dream Theater's music will sound something like Dream Theater. For this reason, I will not rip on Charlie Dominici for his DT-esque riffs and soloing. However, within this powerful gem, one can find many modern prog metal references. Obviously Dream Theater is foremost, but Symphony X, Kamelot, Vanden Plas, and other popular symphonic prog metal band's styles can be found compiled into one fantastic piece of music. The O3 trilogy comes back in this second installment, now actually rocking and progging along, unlike part 1. This part details the main character's experience after his parole and release after his hearing and the gut-wrenching decisions he must make. The music is powerful the whole way through, only slowing down to take a breathe when absolutely necessary. Although some of the songs sound uncannily like the singer's former band, but the music is still creative and powerful.

The Monster is a crushingly powerful instrumental track. Dominici is apparently one of the few solo singers who is willing to put an instrumental track on his album-- to great results! Although the soloing is extremely Petrucci-esque, the whole performance is very impressive. A lot of Vanden Plas sounding keyboard work is going on, adding to the whole traditional prog metal feel. You can see that Dominici has done a lot of listening over the near 20 year gap between this release and his last prog metal gap. At the end of the track, you can hear a sound bit that opens up the story for the next few tracks about the detective who arrested the main character.

Nowhere to Hide is the first track where we can finally hear Dominici's voice in its crushing power. In this track, the concept breaks away from the main character (see my review for Part 1) and tells the story of a troubled detective who has been chasing the terrorist. The song tells how the detective captured the terrorist, but he lost his temper and basically tortured him. Because of this, the court hearing let the terrorist walk because of tampered evidence. The detective muses about how he'll get back at the terrorist and convict justly. Musically, the song still has that amazing power, with a little more creativity behind the riffing. It shows Dominici has not only prog metal, but also a lot of traditional heavy metal influence behind his music.

Captured opens with a radio bit, saying that the government is becoming more aware of terrorist activity. The detective tells his griefs about the justice system and it's flaws. He thinks about how all the criminals who know the ins and outs of the justice system can avoid any contact with the feds and cops. Musically, the tracks slows down with the emotions of the detective, which shows the great attention to character development and conceptual basis. As the detective's anger grows, the song picks up and gets more aggressive, following the compassionate vocals. This track shows the more dynamic side of Dominci's music.

Greed, the Evil Seed starts again the crushing power of symphonic prog metal. We are now hearing from the main character, the terrorist, who thinks about the injustice of the system and the power of greed in our society. He thinks about how humanity tried to get along, but the greedy ones ruined it all (greed=evil). Musically, this starts again the Dream Theater influence, with some fantastic synchronization and great Petrucci-esque soloing again. Instrumental sections abound in this song, powerful, melodic, and fun.

School of Pain tells the main character's time in prison after he was captured and wrongly convicted. He talks about how screwed up the "school of pain" is and how he really learned nothing. Musically, the song is a slow bloomer, starting out slow and gaining momentum throughout the song. Once it picks up, however, it doesn't slow down, constantly ripping up the pavement with it's impressive power and musical might.

The Calling tells how the terrorist now understands that he has to do what he was originally told to do (essentially destroy humanity). He calls humanity the greatest virus and his chemical the solution. Musically the song starts off rather boring, but the verses are so incredible I really can't dis the straightforwardness of it. The choruses get a little more boring again, but that verse riff is incredible.

The Real Life is a melancholy and beautiful track consisting of piano and vocals. In this song, the main character has reached a breaking point. He muses on how he will be a martyr when he releases his chemical and how the afterlife is the "real life." Musically, it is melancholy and beautiful, with fantastic melodies and fantastic piano work.

The Cop tells of the deal the detective makes with the main character; the main character tells his entire story to the detective so he might be able to escape prison. Musically, the song rocks again. It has fantastic prog metal-heavy metal crossovers, with some great instrumental sections again.

A New Hope tells of the main character's journey to releasing his chemical. It displays his rise to some kind of a prophet or something along those lines, for you can hear crowds of people chanting after he speaks about humanity ending being a new hope. At the end of the song, a massive explosion is heard, showing obviously that he has succeeded in releasing his chemical. Musically, the song has some obvious influences more than ever to Dream Theater, at some points their modern work, at some points their classic work, but everywhere Dream Theater. As I said before, this is acceptable, seeing as the singer is a former member of that very band. If it were another band, I would give a much lower rating. The soloing is fantastic, showing all the members' musical capacity to really rip on their instruments. This track really leads nicely into the next and final installation.

ALBUM OVERALL: A really great symphonic progressive metal album. Dominici and his backing band have really hit it big here. However, musically, the album lacks in originality harshly. Now, influence is good, but when it seems like your listening to that particular band when you listen to the music, for example the extreme Vanden Plas and Dream Theater influence, the music sounds cheesier and cheesier. The concept, just like the last album, is fantastic, as are the vocals, but the one thing holding this album back is the unoriginality of the music. The players are technically over the top, but the music they wrote is disappointing. 4+ stars.