TELEPATHIC MINDS

OVERHEAD founded in 1999, quickly inspired by prog giants such as PINK FLOYD, GENESIS or KING CRIMSON with refined melodic music, a clear and powerful voice, breaks where the flute takes its place, RUSH, DREAM THEATER and floydian breaks . An innovative psychedelic sound at times, heavy 70's in 2020. A double album, like in the good old days, in short, let's dive into this 6th double album.

CD1: "War to End All Wars" sympho hard prog intro that moves, just enough to give vocal space to Alex with his flute that slots easily; it goes up, it breaks on voice-overs, it's complex; it takes several readings and Alex uses his flute wisely; an instrumental on organ à la DEEP PURPLE, THRESHOLD as in the good old days, breathtaking before returning to the central air and Jaakko who releases a moving solo, on the border of hard, prog metal, a bluesy touch; in short, a must already. Sound reminiscent of the flights of STRATOVARIUS and SYMPHONY X of the great era, grandiloquent. "Ghosts from the Future" in two drawers on a warm intro, Alex modulates his voice on a psychedelic rise, lament that makes you shiver; break in the first third with heavy guitar and flute riff that goes much better in the studio than live. Riff à la BLUE OYSTER CULT, oriental flute solo, it's well done, the keyboard also twirls; the second atmospheric break with drum roll, the epic and symphonic side of metal emerges, go for an Andalusian arpeggio now and the heavy, metallic tune resumes for a vibrant crescendical finale. "Sail Across the Universe" riff and flute, yes reminiscent of JETHRO TULL; his AOR with aerial riff, break growl and muscular dithyrambic attack; it speeds up Alex fills the title with his very particular voice, Jaakko's solo wants to be crystalline, lively and captivating, its stunning. "The Pilot's Not Fit to Fly" on a melodic ballad, you'll laugh I thought of SADE's hit! Langoureux, always this AOR connotation which goes well between neo and heavy, flute which rolls and rolls for a long time; second part which highlights this fabulous guitar held by Jaakko, very knowledgeable pulling heavy notes with smoothness, almost too simple. "Sleep Tight Sweetheart" country western spaghetti tune, slide sweetness and psychedelic pop vibe; the guitar wants to be bluesy during a long solo taken as a musical framework.

CD 2: "Telepathic Minds" in 5 parts, conceptual river title on Life, musical atmosphere flirting on the OVERHEAD sound of today made of FM rock, prog metal and prog atmo-electronic tricks where the flute is ideally used, bringing warmth and reminiscences of the past. Alex channels the title through his borderline phrasing, hypnotic, plaintive vocals; the mid-term break with the whiff of a VANGELIS 'The Apocalypse of the Animals' for the emotional touch, a Gary MOORE-style guitar solo which shows the extent of Jaakko, a real 'beast' to think musico-solo-finger of 'elf! Last break on a touching Floydian background. "Tuesday That Never Came" for the single released in preview which in no way reflects the atmosphere of this double album; a moving rise that refers to the rock FM ballad of a Bon JOVI for example. "Planet of Disorder" Jethrotullian flute and Rainbowian riff; ballad with Alex who puts himself forward as much in vocals as in breath; the guitar solo on BLACKMORE, strikingly realistic and the flute to remind us that the sound is that of OVERHEAD, quite simply. "Sheep Stay Silent" electro intro that changes, its Kashmirian riff, jazzy-country-oriental break, hilarious, second break with a heavy metallic riff like METALLICA, that's to say; finale which returns to the languorous ballad; the best of the album for me. "Almost Always Near the End" concludes this thundering set with juicy, symphonic synths; flute jamming, air-hymn to get high, throwing an endless jig, and I see that after violins, trumpets, cellos, flutes can also be progressive.

OVERHEAD therefore releases a musical slap, that's said. A clean sound, through the singular voice, the flute, instrumental parts with keyboards and guitar solos; an album where the progression is done gradually, from the intro, on the breaks, on the atmosphere in general; on groovy riffs, on a rhythm that hooks from the first listen. A sound that stands out, which evolves, which does not hesitate to juggle different atmospheres, eyeing the old but showing a recent range for the rhythms generated. Texts on this inevitable pandemic which never ends, music... which never ceases to upset me over the course of my many pleasant listenings, it starts well 2023 with an OVERHEAD which evolves well and transcends itself.