OMNI

In an era where progressive rock continues to evolve far beyond its roots, Karfagen's Omni emerges as a celebration of the genre's golden age and a bold theatrical journey all its own. The Ukrainian outfit, led by multi-instrumentalist Antony Kalugin, has crafted an album that not only pays homage to the titans of prog but also steps into its own narrative-driven identity. Impressive roster of guest musicians adds depth and diversity to the album's sonic palette. The legendary Richard Sinclair (Camel, Caravan, Hatfield and North) contributes vocals and fretless bass. Renowned flautist John Hackett lends his skills, infusing the album with a delicate, ethereal quality. Expressive guitar work of Michel St-Père (Mystery, Huis) adds melodic weight and emotional resonance, and his smooth, melodic solos complement the symphonic textures perfectly. Equally integral are Per Malmberg (Salva) and Max Velychko (Inside The Sound), whose dynamic guitar performance across the album provides both technical flair and atmospheric depth, enhancing everything from complex instrumental passages to gentle acoustic interludes. Additionally, vocalists Jean Pageau (Mystery), Marco Glühmann (Sylvan), and Bartosz Kossowicz (Collage, Quidam) each bring their unique styles to the album, enhancing its rich tapestry of sounds. At the same time, the album retains definitive AKP/Karfagen' s signature flair.

1. Omni Overture

The curtain rises with a dramatic synth sequence reminiscent of Genesis' "Behind the Lines" from Duke. There's also a cheeky nod to Van Halen's "Jump", not in energy but in the distinct use of polyphonic synthesizer textures, clearly surfacing Antony Kalugin's New Age roots. It's a compelling fusion of arena rock grandeur and symphonic depth. Bold, brassy synths and triumphant chords declare the beginning of an epic.

2. Storyteller (Part 1)

Enter Richard Sinclair, whose vocal performance is nothing short of theatrical delight. His voice has aged gracefully - warm, fragile in places, but always charming. Sinclair imbues the track with Canterbury whimsy. Comparisons to John Mills' portrayal of Gus, the Theatre Cat in Cats (1998 London cast) are apt - there's a nostalgic lilt to his voice, a storyteller's cadence full of character and gentle melancholy.

3. Whispers from the Past

A short melancholic, flute-laced interlude that channels Anthony Phillips and the softer side of Camel. The pastoral feel, textured with acoustic guitar and delicate synths, evokes imagery of lost memories and fading dreams. It bridges prog with ambient classical, creating an emotionally resonant soundscape.

4. The Spark

This is where the Omni narrative regains momentum. "The Spark" feels exploratory yet optimistic - like the ignition of an idea or emotion, a spark of recollection becoming a flame of inspiration. Here, Karfagen leans into rhythmic complexities and harmonic layering. With traces of Gentle Giant's interlocking motifs and Steve Hackett's guitar voicing, "The Spark" pulses with kinetic energy. John Hackett's flute and Per Malmberg's vocals and guitars spar in musical dialogue, building an intricate and dynamic middle section.

5. Masterplan

This track showcases Karfagen's command of long-form composition. The title hints at a conceptual centrepiece - and musically, that's just what it feels like. The track unfolds with symphonic elegance, layering strings, piano, and soaring guitar, almost in the spirit of The Enid or Renaissance, fusing orchestral colour with rock tension. Soon, it develops into a layered instrumental section with alternating moods: pastoral flute passages à la Focus or Camel, transitioning into more rhythmically tight prog motifs reminiscent of Yes's "Drama"-era. Around the midpoint, there's a striking keyboard-driven interlude evocative of Emerson, Lake & Palmer, with nimble counterpoint and playful shifts in metre. It's a showcase of Kalugin's compositional strength, as themes are reprised and evolved throughout. The conclusion blends soaring guitar leads with mellotron-style textures, conjuring Flower Kings or Kaipa in their majestic moments.

6. Mirror of Souls

Clocking in at just over a minute, this short piece acts as a breather, an ambient hinge between larger movements. "Mirror of Souls" feels introspective yet grand. With a reflective piano intro leading into expansive instrumental passages, the track echoes Pink Floyd in its atmospheric buildup, paired with The Enid's orchestral leanings or some of the quieter, dreamlike textures from Genesis' "Unfinished Symphony" moments (think "Dusk" or "Entangled"). It is one of the album's most contemplative moments. Feels like it exists outside time - a moment of self-reflection before the narrative resumes.

7. Unchained

One of the album's highlights, "Unchained", a rhythmic juggernaut, leans toward King Crimson territory. Jagged riffs, odd time signatures, and textures swirl in complex unity. Jean Pageau delivers a passionate vocal performance here, blending theatrical phrasing with melodic strength. His expressive tone cuts through the dense instrumentation, adding emotional urgency and elevating the song beyond pure instrumental prog. Pageau's brilliant singing adds a compelling, almost operatic intensity that enhances the track's drama. Fronting him, Max Velychko shines on guitar with both surgical precision and wild, improvisational energy. His solos here are angular and explosive, echoing Robert Fripp's adventurous edge while maintaining a melodic core. Despite its technical edge, "Unchained" never loses musicality - each section flows with narrative purpose.

8. The Cards We Play

Possibly the most theatrical piece on the album, it feels like a playful exploration of fate and chance - both in concept and in musical design. The fusion of Marco Glühmann's narrative voice, shifting tempos, and layered instrumentation delivered by the rest of the stellar cast recalls "The Lamb Lies Down on Broadway"-era Genesis. The track begins with a delicate, introspective atmosphere before morphing into jazzy interludes and quirky instrumental interplay with strong Canterbury-style influences. The middle section flirts with time signature changes, shifting the rhythmic foundation like a game of chance. There's a carnival-esque atmosphere here, filled with dramatic flair and lyrical introspection.

9. You and I

A pastoral interlude rich in emotion, "You and I" is the calm after the storm. It feels like a sonic exhale following the complexity of previous tracks. Gentle acoustic guitars and minimalist synths set the stage for a soft, romantic tune. Michel St-Père's melodic sense shines in his expressive lead work here, while Bartosz Kossowicz brings a tender, heartfelt vocal performance that fits the intimate mood of the song. His warm tone and nuanced delivery elevate the emotional resonance of this tranquil moment. With a soothing melodic structure, this piece evokes strong emotional warmth, balancing the grandeur of progressive instrumentation with intimate acoustic textures in the likes of Renaissance, the acoustic sensibilities of early Moody Blues, or even Camel's more reflective moments.

10. Storyteller (Part 2)

Richard Sinclair returns to close the album with a reprise of literary charm. His vocals here are even more intimate and theatrical, echoing the essence of a musical monologue. This track completes the narrative arc of Omni, making the album feel like a full-circle journey.

Final Verdict: A Progressive Epic with Theatrical Flair

Omni is a tapestry of lush arrangements, character-driven vocals, and cinematic grandeur. With each track offering a distinct chapter, Karfagen and its star-studded line-up deliver a cohesive concept album in the spirit of classic prog and musical theatre. From Canterbury whimsy to symphonic drama, the band successfully bridges styles while carving out their unique niche. It's emotional without being indulgent, technical without being cold - a balance that few modern prog bands manage as gracefully.

Score: 9/10. An evocative and intricately crafted progressive journey. Karfagen's most ambitious work yet.

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