ATON FIVE

This second full length album of the Russian ATON FIVE presents two lineup changes, which literally means half of the band: the keyboardist Danil BOSAK is replaced by Anton ABLOV and the drummer Roman MAKUSHEV replaces Dmitry SMIRNOV.

Respect to the debut the band seems to give more relevance to the metal element that was already present before but now is put more in evidence. Apparently, there are still influences from classical prog bands. The oriental flavor of the guitar in the opening track makes me think to the scales used by Rick Wright in the early Floyd days, while the keyboards are in line with the fast standards of the Ukrainian Vitalij Kuprij in his Artension days. But it's the chords progression, never trivial, dark as it has to be, that makes it very interesting.

"Naked Void" is an interesting title. Again we have minor chords and a progression that can be found, of course with different tempo and sounds, in classical music. Here's some room also for the bass, while the bending of the guitar strings adds a touch of psychedelia. In this track I hear similarities with the polish RIVERSIDE and a vocalist like Marius DUDA could have fit well in this track if it had lyrics. I like the odd signature. It shouldn't be an easy job for bass and drums. The keyboards sounds in the second half of the track remind me to Rick Wakeman's Criminal Record.

"Clepsydra" is the shortest track, it's opened by a slow guitar riff soon accompanied by the other instruments. Hypnotic, it's the most psychedelic track of the album. It fits with my personal tastes.

"Danse Macabre" is the bridge that leads us to the epic closer. Dark as its title, is sustained by the rhytmic section, while guitar and keyboards dialog between them and sometimes in sync with the bass. It's a complex track and also in this case, if you imagine it skowed down and performed by a symphonic orchestra in some parts, the connection with the classical world becomes evident. It also contains a good guitar solo, piano, and an excellent chord progression.

A curiosity: while I'm writing I've given a look to the bamdcamp page and I'm happy to see that the connection with classical music is not just my impression.

Now the epic "Lethe". It's the river of oblivion in mythology. The bass opens the suite and having recently listened to One Of These Days, despite the very different tempo and the completely different guitar, I think it denotes a bit of Floyd influence. The chord progression is still dark and the signature is, I think, a 5/4. Keys and guitar dialog effectively while the rhithmic section sets the mood. I'm sure that nothing is improvised. Around minute 8 a drum solo introduces what I think is the third movement of the suite. The guitar cries on a keyboard base, like the Gilmour's effects in the middle section of Echoes. It sounds like a closure, but there are still many things to come. It's apsychedelic bridge to the forth movement. Back to 5/4 we can hear voices. It's like somebody reciting a poetry or telling a story. I can't get what he says but it sounds very dramatic while the guitar "gently weeps" on minor chords. A sort of fading out, bells, saturation and...wow, a psychedelic section in the vein of early floyd...unfortunately short as I really appreciate the genre, but the bass is ready to restore the initial mood letting the drums roll fading in a crescendo leading to a movement of clearly classical inspiration but with a Santana like guitar adding dramaticity. The end of the epic is now near. This final conversartion between guitar and keys with bass and drums putting their sweat inside the music brings the listener to the final standard closure in crescendo.

...and it's done. Not without a bit of wind, like a hommage to One Of These Days.

The first tracks are good, but the suite is excellent, so it gets 4 deserved stars

ATON FIVE was born in 2014, a mix of prog, 70's hard rock, psychedelia and a touch of stoner. A group surfing on the atmosphere of PINK FLOYD, DEEP PURPLE, TANGERINE DREAM, ELDER, HIDRIA SPACEFOLK, offering supercharged vintage from the 2020s; from the basic instrumental with shimmering variations, a 2nd opus scraping the atmosphere of the last decades to concoct an unforgettable moment, here we go.

"Alienation" a edgy instrumental, prog metal base with psychedelic break; long variation with flamboyant keyboards on an imposing rhythm; the finale on an undulating synth-guitar duo for a sound apart, an imprint beyond the criteria. "Naked Void" bases invasive synths, psychedelic post-rock with sounds coming from shooting stars; an epic title where the guitar is master, where the percussions and various organs accompany it; to decipher, to clear, to tear off the banks of interstellar clouds which pass in front of you; the sound comes at the end on a ride of keyboards by Anton pursuing the crazy guitar of Alexander. "Clepsydra" for the short piece, the one that will vibrate in your ears, between a "Once upon a time" and a humming stellar echo; monolithic and metronomic, a title to light up dark nights, perhaps the shortest, but also the most intense. "Danse Macabre" for a narcissistic, intimate anthology smoothly conducted; the more present guitar reminded me at times of MALMSTEEN or RAINBOW, at others of DREAM THEATER in their escapade; the finale for a rehash of once again, for the latency and the unique atmosphere. "Lethe" intro on a boat, not that of PINK FLOYD although so precisely with this typed bass; over 20 minutes of progressive declination with a hypnotic trans base; a psychedelic spatial sound that looks like? but has its own trademark; in the 1st third it rises in a grandiloquent, symphonic way to render a psychedelic sound of PINK FLOYD from the Belle Epoque. Alexander not only plays, he lends his voice here for a dreamlike phrasing worthy of a NASA sequence; the 3rd phase with Alexander's guitar which this time sends you into hyperspace in order to avoid a possible return, the rhythm becomes nervous, heavy, incandescent, it explodes pleasantly until the final detuned, end which causes emptiness , lack.

ATON FIVE with its unique psyche-atmo-retro-heavy-stoner-prog surfs on instrumental prog metal; a space metal prog sound that sends into space and leaves in orbit; after the pandemic it is good to listen to new musical blood knowing precisely that this album comes from the covid period; a tearful, defeatist sound, an innovative, playful sound, a stoner, hypnotic sound, a sound bringing wisdom and abnegation, a simple and beautiful sound, effective and colorful from which all the palettes of the rainbow are declined; a relaxing sound where the relaxation is beautiful, where the sound will ogle the MOTORPSYCHO; a sound apart that feels good in these moments when everything repeats itself, everything languishes, creative.

A relatively new heavy prog band from Russia that seems quite inspired by both Rush and the Trans-Siberian Orchestra phenomenon.

1. "Alienation" (8:32) this soulless totally familiar heavy prog-by-the-numbers doesn't sound very alien to me. (17/20)

2. "Naked Void" (8:32) competent heavy prog, performed by proficient musicians, recorded with very good sound engineering, that, unfortunately, brings nothing new to the prog lexicon that I can hear. (17.75/20)

3. "Clepsydra" (3:23) is this supposed to be a reference to the excellent Swiss prog band, a Greek water clock, or the deeper meaning, "water thief"? Nice sonic field textures and melodic weave. (8.875/10)

4. "Danse Macabre" (8:00) Ooo! Some angular metal! I like the start of this one as it feels emotion-driven and creative. Unfortunately, after the first 45 seconds it begins to sound too derivative/imitative of RUSH. Despite some impressive play from all band members, the song never quite lifts itself into the realm of anything new or ground-breaking; just solid, competently played heavy prog. (13/15)

5. "Lethe" (22:01) feels like such an incomplete, under-developed piece: the instrumental performances are replete with mistakes, the weaves are simplistic, even rudimentary--they seem underdeveloped and left to chance in a one- take type of recording scenario--which makes me think the band members either very lazy, very disorganized and uncommitted to their musical project, and/or quite pressed for studio (and/or practice) time. Don't get me wrong: there are some nice ideas here, some nice solos, and great sound, but everything just sounds so ... soulless. (37/45)

Total Time 50:28

An album that I found impressive for its sound and competent musicianship but also found sorely lacking in creativity.

C/three stars; a collection of good heavy prog songs that deserves independent attention from the individual prog lover.