BY DESIGN OR BY DISASTER

"Forced to Be Free" begins with an XTC sound, yes new wave? go keyboard and prog synth now, confusing in 20 seconds; a pop rock dance rhythm, fresh to disturb a little more; bass and guitar break like Crichton from SAGA, lag time and a too short, dark ending causing you to miss it, because this final riff reminds me of a group that I love. "Lifeline" percussion bringing a captivating air, metallic becoming airy during the chorus; evolving and innovative with this electro-dark break which swells and gives freshness with the heavy riff in the back; metal rock with dark new prog reminiscences, the pleasure of being surprised by this modern sound that reaches far and wide. "This Hell We Know" drum machine for a typical 80s sound, Billy IDOL for example on one side, KATATONIA on the other; the keyboard leers on the sound of SIMPLE MINDS while the nervous bass catches up with hard FM, surprising and explosive, yes I dare; atmospheric piano and keyboard break, drum roll, another slap in this variation; the opportunity to verify that Wudstik has a very beautiful voice; latency of the piece which flows like a waterfall; surprising explosion with a growl as if James from DREAM THEATER found his voice; third track and third surprise for a decidedly inventive album; the ending too predictable on the other hand again. "The Future that Came Too Soon" with Marco's piano bringing the metallic air, bordering on djent, eyeing HAKEN; the proven sweet verse, the high, expressive chorus on a contained prog metal riff, I find the sound of the 80s there, like there was something good in that decade. A DREAM THEATER-TOTO fusion for the choirs, a musical shock; Léo sets a sustained rhythm, I think I hear PAIN OF SALVATION; angelic chorus and a long melodic variation to finish. "All We Did Was Hide" acoustic guitar launching the contemplative ballad, cutesy, marshmallowy, predictable in fact but with a nice final rise; back to the soothing guitar.

"Hush" as an interlude, dark air, spleen, contemplative, warm choirs to meditate. "Remind Me to Forget You" returns to this electro prog metal sound eyeing festive, dancing rock, plaintive guitar solo à la QUEEN; the chorus and the choirs bring a modern synth prog atmosphere, the prog of 2020. Fateful moment where the group stands out "Flaws" arpeggio piano and plaintive guitar, PAIN OF SALVATION in the distance; an introductory ballad which launches a heavy riff in very significant stereo and a nod to DREAM THEATER and for the voice, the guitar and the range; Wudstik's voice on Kristoffer's bass is just enjoyable, imprinting the chorus in your heads; the evolution is intended to be hard, animal before giving way to a melancholic solo, the beauty of Ruud's solo which has more fun here than with the precise symphonism of WITHIN TEMPTATION. "Guide Me in Getting Lost" has the band's signature sound, flirting with a musical reminiscence and then grafting it on to create a singular sound; difficult to find the taste, the color of this group, an energetic fusion sound like the SONS OF APOLLO. "Ghosts of Summer's Past" continues by offering this atmospheric, symphonic, contemplative prog metal track; the sounds of alternative groups from the 90s are striking. The gripping chorus that comes to mind, the soft and screamed voice, all the ingredients to be addictive. "Goodbye" yes the last one, piano arpeggio and Wudstik singing on a wire; choirs, a guitar bringing out a few tears, a plaintive air to consume the listener.

FOR ALL WE KNOW offers a resolutely modern sound, groove, metal flirting with djent, a musical melting pot; by design or by catastrophe yes the title is well named, in any case. (Initially on Profilprog 4.5)