MONDO FICTION

Opensight is a Colombian and English progressive metal band with a traditional style; a mixture of heavy prog à la Faith No more with cinematographic touches combining the heaviness of a riff with the quality of the atmosphere of film noir with many twists and turns, from those of English espionage to those of Italian thrillers and westerns, plunging into a foreclosed world from which there is no coming back; stunning schizoid-rock- heavy with this 4th album.

'In Here with Us' on a BOF of 'Matrix', on that of a spy film, good the voice, its phrasing and the rhythm refer to Faith no More, except the singular trumpet; break à la 'Kill Bill' a tad alreadynté and electric on the end of the 70's, enjoyable. 'The Great Silence' continues on well struck alternative metal, the redundant plot; the groovy, funky riff then that crystalline back guitar then zappaesque; happy ending ending. 'Plot Twist' and this crackle of LP, a sound with the same air, like 'Inspecteur Gadget', 'La Panthère Rose' or 'Meutre à Acapulco' for a torrid suspense and a murderous riff both on the bass and on the guitar. 'Stained Remains' starts with a spatial intro and it starts at the same tempo for a remake of the previous title, a little more speedy and colorful at the same time with an air punctuated by these drums; orchestral break, notes launched to surprise, madness of The Darkness, vibrating synths, it smashes hard and the finale becomes dark, mysterious. 'Another New Beginning' for the interlude, the interlude, the pee break, short engaging piece . 'Primitive Principle' for a title that holds the same strings, fast festive air as on a chase; the break with synths and choirs in the background brings a bit of diversity.

'Curse' with a Quentin Tarantino-style intro, title with a chiseled riff and the brass orchestration that goes with it, bis repeated a little faster; final on the airy spaghetti western guitar. 'Horror Vacui' for the second interlude, languorous, mysterious tune that can remind 'Delicatessen' or 'Mars Attack', its murky sound too short there. 'Villain' arrives, one of 2 tracks over 7 minutes; heavy tempo for yet another title still on 'Spider-Man' which is worth more for its devastating solo and its dithyrambic riff; otherwise it is similar. 'Secrecy' softness in the intro, 'Pulp Fiction' or western, there it takes well with a soft and struck tempo, the voice limit feminine on the tone; a rocking start that rises with vintage 80's keyboards, a metallic rhythm, a break always with this fluid old pop- psyche guitar and this bombastic sound à la Faith No more, in less creative however; Mysterious finale again, cinematic with its crackles of time? 'Thunderball' takes up the theme with a difference in tone approaching in fact a James Bond otherwise it's the same.

The problem with this energetic Opensight album is the strange feeling of having the songs spinning in a loop; this is the impression I had during the first listen without seeing the titles, quite damaging in fact. Otherwise the good side is to have lived an experience of eccentric variegated alternative metal where the progressive is embedded during spatial and strange breaks, a theatrical space rock movie at the beginning of the year. Note that these are Ivan Amaya on vocals/guitar/keyboards, Neil McLaughlin on guitar, Duncan Arkley on bass and Redd Reddington on drums.