WHEELS WITHIN WHEELS

MEER revelation of new prog in 2021; fresh sounds of symphonic, classical, innovative and complex rock. A captivating and astonishing music.

"Chains of Changes" seems to pick up where the previous album left off: a piano, an evanescent synth, an ambient western guitar air; amplification of the sounds and the fraternal vocal duo gets going telling their story about the crisis of peoples; the tempo is set, the typical choirs are helped by the orchestration with the BANKS break; velvety, invasive like a pure product of new prog pop rock. "Behave" muffled bass accompanying Knut on a tune by TEARS FOR FEARS; piece featuring the vocals supported by the violins, the guitar bringing a powerful revisited 80s sound; the break development gives pride of place to the orchestration before the apoplectic finale. "Take Me to the River" monolithic morning piano, ethereal vocal duo smelling of LEPROUS, on a vintage folk air also leaning towards WOBBLER, full of sensitivity; the break with the string instruments and the Genesis air on a powerful, orgasmic and bucolic sound, easy and intense; finale on the church organ recalling the works of YES. "Come to Light" bis repetita with this redundant ambient air, simplicity of the piano, of the voices; a musical sweetness, a candy of notes, the melancholic violin helps to regress, the explosion of the choirs seeming to come from the ether; piano latency and pads which launch into the grand optimistic finale with this grandiloquent, shivering chorus. "Golden Circle" begins dream pop par excellence, melting pot of SIMPLE MINDS, BRONSKI BEAT, EURYTHMICS; a wild pop disco rhythm with the guitar with a jerky riff bringing back to contemporary rock; the sound settles with the velvety voice. "To What End?" minimalist atmosphere, latent on a fruity pop; we talk about Eden, freedom, end of war; the rhythmic base syncopates the air making the piece swell with the choirs drowned in the violins, a real osmosis sound-voice-rhythm that screams like a powerful call; the strings decline on a languorous climate proven progressive; return to the redundant finale that can shock by its similarity.

"Today Tonight Tomorrow" with Knut on the piano arpeggio; a melancholic nursery rhyme amplified by delicate notes of the piano and violins; a little XTC, NO-MAN for a solemn, sad, moving exploration defying the conception of the prog drawer; Eivind's guitar solo supported by epic strings as desired. "World of Wonder" for the piano interlude with marked notes; ethereal choirs from a world of wonders, restorative cinematic moment introducing "Mother" with the plaintive vocal duet, ode to the Mother, the instruments imprinting a divine aura; an intoxicating lullaby tune, in the lineage of the BEATLES for this melancholic piece with its dazzling beauty, a pregnant oxymoron. "Something in the Water" pleasantly reminds me of 'Playing House' and its dark melancholic side; evolution of the timbre with keyboards and violins very present; the drums imprint an atmosphere of military march, the sound swells; the aggressive lyrics on our inability to recharge our batteries, Johanne brings out her grumpy voice to warn us one last time. "This is the End" by the DOORS, no the metronomic piano refers to the djent of HAKEN, the flight of symphonic strings assists the heavy electric guitar; Johanne then Knut in an intense duet that can disturb and this heady, sulfurous zeppelinian guitar. The crystalline piano arpeggio, the sweetness of the wandering of the spleen break, a contemplative moment before the orchestral finale, a mixture of tumult and riff coming from the orchestra as a whole; hope of a new flight.

Original review on Profil prog(4.5). Just, someone who puts a star really doesn't understand anything about music for info!