DAEDALUS

Unabashedly and unashamedly a huge fan of symphonic group DAAL, since its birth back in 2008 in the beautiful town of Bergamo (Citta Alta, wow!), I get goose bumps whenever my friend and master drummer Davide Guidoni (the DA in DAAL) sends me some new material to review. If one looks at the ratings on PA for the DAAL studio albums, the results should be quite convincing! Their style of symphonic and cinematographic prog has a quality edge that never seems to become dull, with massive dollops of luxuriant mellotron splashes spread throughout the lavish arrangements. Keyboardist Alfio Costa (the AL in DAAL) utilizes an arsenal of mostly vintage old-school ivories to elevate the proceedings to the loftiest heights. Both are fabulous musicians as well as clever composers. Their allies are the usual crew, Ettore Salati on guitars, Bobo Aiolfi on bass guitar and they also shine, being very familiar companions since pretty much the very beginning. Their seventh album is called "Daedalus", based on the famous Greek legend of Icarus and Daedalus, though this is not a concept album by any stretch. The striking purple cover artwork bodes well for the musical adventure to begin.

These are seasoned pros, extremely confident in taking their time in elaborating a classy work of the highest order, so it comes as no surprise that the opus is bookended by the "Journey Through the Spiral Mind Parts 1 and 2", nearly 22 minutes in scope, with a 14-minute opener and an 8-minute closer. Sweeping atmospherics and shimmering cymbals introduce Alfio's unadorned piano motif, soon to be united with a similar crisp guitar line, a fretless bass loop and a deliberate expansion into mysterious realms, alternating the initial serene simplicity with rising crescendos of power streaks, an upward vortex of sound that is breathtaking. A spooky organ chills the atmosphere even further, while a forlorn piano warms the melody, ushering in a steady beat, only to be slain by a totally unexpected wall of glorious mellotron thunder that is triumphantly compelling. The finale is a return to the tranquil start. Magnificence incarnate.

The boisterous "Icarus Dream" explodes right from the get-go, a rifferama piece full of piss and vinegar, totally unanticipated, featuring a nice middle section where Davide gets to do his classic Bruford wallop, while Bobo plows forward, Ettore and Alfio supplying all the power one can hope for in this moody slice of classic prog. The mellotron is a huge part of the DAAL sound as many others have commented on, and there is no shrinkage here! In fact, possibly mellotron heaven as the great white beast just keeps on giving. This is nearly King Crimson territory and a killer track. Grandeur personified.

At first, the slightly dissonant, dreamy and melancholic "Painting Wings" invokes a slew of soothing keyboard and guitar motifs before the bruising Hammond organ shoves all the prettiness aside with a coarse blast, drums ablaze and no holds barred. The boys keep the listener on their toes as nothing here is predictable, where constant evolution, endless surprise and imaginative eloquence rule the roost. Of course, the finale ends in calmer pastures, almost experimental yet atmospheric. Power embodied.

Another epic 13-minute juggernaut "Labyrinth" carves out darker and more somber terrain, where gruesome organ and shuddering synths that almost hint at Hawkwind provide the angst, offering up a plodding muffled rhythm for a fair stretch before blooming into another unforeseen twist as the wicked drums come barging in as if in a frenzy, bopping bass leading the way, scouring the skies with mellotron squalls, liquid strips of flash and fury. This is exhilarating music, challenging yet comfortable, expertly played and delivered. Splendor exemplified.

Can this possibly continue on such a high note? Si is the answer. "In My Time of Shadow" may even be my favorite here, a gorgeous melody dripping with sadness and melancholia, elegantly draped with flickering guitar, soaring keyboards with robust bass and drum support. Ettore gets to show off some glimmering licks on his electric guitar, such a great musician in his own right. Once again, the band display high levels of creativity and sound exploration even though this is a simple arrangement. DAAL loves to blend these two elements into their craft, attention to detail is a great quality to have. Beauty in the flesh.

And yes, its time to close the book on this hour-long masterpiece and what a damn whack Part 2 is! Hot, hot, hot! No fiddling around here, the volcanic mellotron onslaught is positively fuming here, bold and overbearing, proud and loud. Davide pounds away like a madman on his kit (well, he is a little pazzo), much to our collective delight. Majesty epitomized.

Any fan of instrumental modern prog should have the honour and privilege to listen to how it's done by true masters of the genre, particularly fans of Goblin, King Crimson and symph prog in general. Just remember not to fly too close to the sun.

5 Waxed wings

The project masterminds Davide Guidoni and Alfio Costa are back in 2022 with a new outstanding album production. They already have gained a lot of reputation in the scene when it comes to an experimental eclectic prog music delivery. For what reason ever, considering their entire discography, well, they are putting some little hurdles in place, this has to be contemplated attentively. Nearly all albums are assigned with rather conform yet similar titles. Pay attention, mix-up errors pre-determined probably. Quite obvious in addition, on this occasion the band is complementing with the wellknown Deadalus Saga, which most prudently is deriving from the Greek Mythology. Music-wise the album proves again that they are able to keep up a high level of entertainment and production.

Who is involved? DAvide + ALfio = DAAL, yep, recently revealed by a certain in Hungary born prog aficionado! Furthermore Ettore Salati and Bobo Aiolfi ('... our very special guests ...') are responsible for all required electric guitar duties. How does it feel? The particular songs respectively themes are meandering a lot, like worked out with proper jamming appeal. Though there's a lot going on here anyway. It's just of a relaxed flow predominantly, also equipped with a dark mooded ambiance as usual. Somewhat suitable, as Daedalus' life is running into some really tragical moments. That said, for instance he will lose his son Ikarus, this due to a preventable accident. Accordingly the CD booklet is designed with dark violet colors overall. Unfortunately, in consequence, the text readability is not really ideal. Just a minor issue though.

If you're ready for a Journey Through The Spiral Mind ... well, a gripping ambient intro might be the best transition you can expect. I'm quite sure, in general, this is dedicated to the album protagonist's highs and lows, in particular his brilliant skills as an inventor, builder, artist. The last minutes of this track are preparing an irresistable mood without equal, brilliant! Ikarus Dreams and Painting Wings most likely are mirroring the context around the aforementioned accident. Soaring guitars, excellent drumming, wonderful symphonic tinged keyboards, where the use of the Mellotron is not overdone. This is quite a rounded matter, finally culminating in the beautiful In My Time Of Shadow. 4.5 stars so far for this pleasant listening experience.

[Originally published at The Progressive Aspect]

I've always found books more interesting and enjoyable than film or tv, because I almost always prefer the images my imagination can conjure up from the words on a page than that which is presented to me. Similarly, I often find instrumental music more evocative than that with vocals, allowing my mind to wander and wonder in unexpected directions. It's no surprise then that I've been a fan of Italian duo Daal for many years now, with their intriguingly titled (mostly) instrumental releases, and Daedalus felt like the album that Davide Guidoni and Alfio Costa had been leading me to all along. Every labyrinth has its centre, and with Daedalus it seemed I had found Daal's. The only trouble is I was almost 90 per cent sure I was entirely wrong. It was as if I had seen two and two, and had somehow managed to make five. I knew it was improbable, because two and two make four - and yet, I could so easily join the dots to make five seem entirely reasonable. In the end I sent my review to Davide, and let him let me down. Two and two make four, not five. I was (as I already was almost sure I was) wrong. It would have been easy to simply rewrite my review, but music can be a very personal thing, and interpreted and experienced by different listeners in different ways. We all choose our own path through the labyrinth, and this is mine.

I was late to seeing the intertwining levels of meaning (if they even existed) in Daal's releases. It took until 2018's Navels Falling Into a Living Origami for me to start making connections. It is almost inarguable that both the artwork and titles of much of Daal's discography share imagery. That didn't mean there was also shared meaning, but my mind ascribed meaning - whether it was there or not. I even couldn't help wondering if the previous Nodo Gordiano album (H.E.X.) was also part of the foreshadowing to Daedalus. After all, the 'X' in H.E.X. on that album stands for 'Xoana' - wooden cult images from Ancient Greece, associated with (yes, you guessed it) Daedalus. So here we are, with what ostensibly is an album about the classical mythology surrounding Daedalus, his labyrinth, and his son, Icarus (two plus two equals four). But the artwork and titles of this album, taken along with the artwork and titles from previous releases suggested to me that the labyrinth is that of human variation, of the human genome, of DNA, and of genetic modification (two plus two equals five).

Perhaps it's because my introduction to Daal was Dodecahedron (2012). Its cover art implies that the dodecahedron in question is the "Platonic solid". Of the five Platonic solids, Plato associated each with one of the four elements. Each, that is, except the dodecahedron, which he claimed the gods used for creating the constellations of the heavens. With the zodiac symbols on the cover, this seems a fairly safe interpretation (two plus two equals four). But I'm determined to crack a code, even if it doesn't exist. The dodecahedron is not just the building block of space, but of life! In the geometry of DNA, its double helix consists of stacked dodecahedra that rotate along the molecule (two plus two equals five). The inner cover art and CD for 2014's Dances of the Drastic Navels shows the navel as a labyrinth. Navels Falling Into a Living Origami from 2018, has a title that references previous Daal titles, and connects them neatly (two plus two equals four). But the navel shell is an origami design, that looks like the (not paper) shell on the cover art (showing its umbilicus). Furthermore, the manipulation by nanoscale folding of DNA is called, yes, DNA origami - living origami, if you will. And you'll never guess what one of the most revolutionary DNA origami design algorithms is known as? Ok, you might. Yes, it's Daedalus. (Two plus two equals five).

Regardless of whether or not I was right (I was not), the labyrinthine nature of Daal's music is completely suited for Daedalus. All labyrinths have an inherent duality, embodying simultaneously great artistry, design, and order; and confusion, chaos and dissonance. Daal's music has also always had the same duality, being both beauty and beast chasing itself through complex patterns that beguile and bewilder in equal measure. Without ever really sounding like either, there is surely a good deal of influence from Pink Floyd and King Crimson, and for added colour, perhaps a little Tangerine Dream. I could probably draw a list of A to Z of artists I'm reminded of - or, at least Art Zoyd to Zappa. But Daal really do sound like no other band, and for that I'm glad as I doubt I'd keep coming back to them otherwise. The biggest attraction for me has always been the drums and percussion of Davide Guidoni. I hate to play favourites, because Alfio Costa is as essential to Daal as Davide (or otherwise it would be only Da), but I can only be honest. The rhythm section (either the drums, bass, or both) is invariably where I'm most drawn to in any music. And Davide is cooking up a storm from the very first track. (Yes, I've taken a very circuitous route to arrive here at the opening number, but such is the nature of a labyrinth.)

Throughout history the labyrinth has been a symbol of journeys, so it makes sense that Daedalus begins with a Journey Through the Spiral Mind, or, at least, the first part of it. It begins with a noise I can't help but think sounds similar to that you hear when you put a shell to your ear, invoking both the navel shell of Daal's past, and the labyrinth of the human body, found in the inner ear. Eerie string sounds come in atop a more melodic keyboard line - beauty and, if not the beast, something potentially sinister in the shadows. Then the drums, those glorious drums. All the while, regardless of what anything else is playing, that simple melodic keyboard line draws you in and on, on and in, spiralling gently but assuredly, and keeping order amidst the surrounding chaos. Sometimes, but never quite, drowned out, that constant melody is our Ariadne's thread, keeping us safe as we journey deeper into our own spiral mind. At university, in one of the psychology papers I took, we were taught about the Minotaur as a metaphor for internal struggles, so as the tension in the track is ratcheted up, and as the sense of running from something - something unseen, but nevertheless malevolent - it seems as appropriate as it is palpable. Then have we reached the eye of the storm, as everything suddenly feels safe and gentle, with a beautifully Floydian passage? Of course, just as with the eye of the storm, once one reaches the centre of a labyrinth (even a metaphorical one inside ourself), there is still a need to find a way out again.

Before we continue that journey, though, are a couple of tracks that suggest they are about the mythological son of Daedalus, Icarus (two plus two equals four). Yet Icarus is an interactive web server for RNA analysis, and Ikaros is a DNA binding protein (two plus two equals five). Painting Wings could so easily refer to the studies of butterfly genes, where scientists have literally painted their wings, after isolating and switching on and off the genes responsible for the wings' colour variations. Before we're Painting Wings, however, Icarus Dream[s], and it seems his is a particularly violent dream, with much thrashing about. Again, there is an easing, but with no part two later on, this gentle lull soon turns more sinister, though never reaching the earlier torment. Painting Wings is then beautifully airy and ethereal to begin with, before becoming heavier. A wonderful pairing of tracks, followed by a number which is a pairing of tracks in itself! If Labyrinth 66 is not named for the artwork by Mark Wallinger, the artist behind the installation of 270 labyrinths adorning the London Underground stations, then it is a marvellous instance of serendipity.

As mentioned earlier, labyrinths have long been a symbol of journeys, and for Wallinger they were an appropriate metaphor for the daily journey commuters embark upon while traveling on the Underground, Labyrinth 66, the artwork, can be found at The Elephant and Castle station, so perhaps the two parts of Labyrinth 66 are somewhat reflective of the double barrelled place name? Or perhaps they are indicative of the two locations often assumed to be possibilities for the location of Daedalus's Labyrinth? The gateway to the Labyrinth, depending on which tourist trap you're visiting, is said to be either in the basement of the palace at Knossos, or in the cave system nearby. (Whichever one you choose, it is still Underground.) It's easy to hear the Elephant in the first part of Labyrinth, with its slow and heavy, plodding sound. Though it's also like hearing one's own heartbeat in great whooshy waves, or perhaps echoes of the navel shell of living origami. The pace picks up for the second part, and it could easily be mistaken for a different piece. The Castle? The Palace of Knossos? It certainly sounds regal and majestic. The two contrasting halves abut each other as perfectly as did the two previous pieces of music.

After the shortest of the tracks that make up this album ("short", but sweet!), we are back in the spiral mind for part two of our journey. As expected, once we leave the more peaceful centre of the labyrinth, it's not so quiet. But what I didn't expect was to hear the closing theme of the first part reprised in a more strident and fashion. It takes the quiet meditative passage and turns it into something jubilant and celebratory ? before it all falls away, and we are off and running again, to find our way out of the spiral mind, picking up Ariadne's thread on the way out. The two parts of Journey Through the Sprial Mind perfectly bookend the album, but there are three bonus tracks on the physical release - including the Minotaur for those who were wondering where it had got to. All three bonus tracks are as good as any on the album proper, making the CD well worth purchasing, if you can still find a copy. I don't think Daedalus is my favourite Daal album, but it's definitely top three, and given the consistent high quality of their releases, that's high praise indeed.

Italy's RUSH-like soundtrack masters, DAvide Guildoni and ALfio Costa are back with their first album since 2018 (Navels Falling into a Living Origami).

1. "Journey Through the Spiral Mind Part 1" (14:10) reminiscent of past DAAL works, this one seems unfinished and unenthusiastic. I don't feel any connection to any "spiral mind." I like, however, the band's choice to return to less- treated, more analog-sounding sound engineering choices. Bravo! Halfway through, we get an almost full shift in sound, textures, style and mood with lots of cacophonous guitar, industrial synths, and untethered drumming before things settle down into a rather meditative synth & organ passage at the end of the tenth minute. This then yields into a piano-supported section in which guitar, bass, and Mellotron take over as the lead instruments (with drums right there with them). Very nice melody-supporting chord progression here. (26/30)

2. "Icarus Dreams" (7:30) Active human drumming beneath more conservative, slowed down "21st Century Schizoid Man" chords and soundscape. If the sophistication of the drumming were only matched by the other instruments. (12.75/15)

3. "Painting Wings" (9:22) slow, simple MIDI keyboard arpeggi and chords leave one thinking this is a contemplative play by an artist alone with his keyboard. Near the end of the second minute saw and two-note guitar arpeggi join in with bass to give this a little more chordal structure and progression. Bridge at 3:!3 into heavy organ-centric VDGG-like passage is not weak, clich'ed--as is the organ play. Some Crimsonian chord progressions and sound palette follow. At the six-minute mark the full soundscape retracts to the second motif with saw and guitar, bass, and keyboard arpeggi woven together into a simple fabric. Song deconstructs nearly symmetrically to the opening. (16.25/20)

4. "Labyrinth 66 Part 1 & 2" (13:07) sinister and old (1970s) sounding, like GOBLIN, the music slowly develops into a zombi-paced nighttime scavenger hunt with boots-marching, metallic clanging, harpsichord-imitation, and saw- synths, establishing quite a somber cinematic walk through the cemetery. Part 2 sees a shift into jazz-rock mode with heavy use of Mellotron and arpeggi coming from every which way. I very much like the old "analog" sound of this piece as a whole. Calming "flute" and searing electric guitar take off at the same moment, providing quite an interesting contrast--with a third droning electric guitar later added to complicate the mix. Interesting! Very cinematic. Well done! (22.5/25)

5. "In My Time of Shadow" (6:30) Too conservative and controlled; everybody feels confined and expressionless. Nice guitar work in both the "strings" passage and the wah-guitar section. I also like the fretless bass play. Melodies make such a difference for me--to a song's likability--and this one I like. (Cool video!) (8.75/10)

6. "Journey Through the Spiral Mind Part 2" (7:51) solo electric guitar strums through the chord progression established in the second half of the album's opening song, "Journey Through the Spiral Mind Part 1." When the full compliment of rock instruments join in it sounds quite a little like the final song of the film score to 1981 James Caan film, Thief, "Confrontation" (a song credited to Craig Safan due to Tangerine Dream's completion of their own commitments to the soundtrack.) At 2:40 we get a full transition into a Emerson, Lake and Palmer-like passage. Then we hear more GOBLIN-like references from a piano riff before the music settles into a more typical, plodding DAAL section until 6:30 when a pretty solo Mellotron passage takes over to the song (and album's) aqueous end. (12.5/15)

Total Time 58:30

I like the "live" in the studio sound and feel of the drums. I don't like the conservative, Math Rock-like structures of the rest of the music: it's as if the musicians are trapped into the forms of the song's chord structures with little of no freedom to express individuality (except for the drummer).

B/four stars; a very nice addition to any prog lover's music collection.

"Daedalus" is the seventh studio album by Daal and was released in 2022 on the independent Ma.Ra.Cash Records label. The line up features, along with founder members Alfio Costa (Mellotron, Moog, piano, organ, synthesizers) and Davide Guidoni (drums, percussion), also Ettore Salati (guitars) and Bobo Aiolfi (bass) here promoted to effective members while they were credited just as guests on the 2018 album "Decalogue Of Darkness". The art work by Davide Guidoni in some way reflects the musical content with its dark, oneiric figures loosely inspired by ancient Greek mythology...

The long opener "Journey Through The Spiral Mind Part I" begins with a slow pace. The cinematic intro conjures up a creepy atmosphere and might recall Goblin, then hypnotic notes take you across mysterious places "where the world under your feet suddenly seems no more real than the world of a dream, apt to dissolve without warning and send you tumbling into a great, dark void..." (the short quote is from "Lightning", a novel by Dean Koontz).

"Icarus Dreams" begins by a surge of energy. As the rhythm rises you can set off on an interstellar journey on the wings of fantasy. In the open space, as the dizziness of the departure dissolves, darkness becomes an excellent screen on which the mind can play out its architectural whims. For this track the band provided a video to give you an idea of what the music is about...

"Painting Wings" starts softly, the atmosphere is relaxed and dreamy but after three minutes the music takes a different direction and dreams seem almost turning into nightmares as the rhythm becomes more obsessive and threatening. When the calm comes back you could feel scared by your own lethal visions...

Then it's the turn of the long, complex "Labyrinth 66 Part I & II". Here the music depicts a sinister place, where some evil and malignant force lurks behind sombre corners, a kind of dark presence coming in steady, inexorable waves. You're prisoner of your dreams and waking up will be hard...

The ethereal "In My Time Of Shadow" starts by the sound of the wind and a delicate piano pattern. It's a calm piece with beautiful melodic lines and a nocturnal mood. For this track the band shot an interesting video where two statues come to life in a deserted atelier. They're like sleepwalkers dancing to a surreal choreography, assailed by their own inner demons... Eventually they turn to stone again, after all, "a moving statue becomes grotesque, it only has majesty in immobility..." (quote from "Le Roi Squelette" by Serge Brussolo).

"Journey Through The Spiral Mind Part II" ends the album and closes the circle by taking back the atmosphere and the melodies of the opener. The dream reaches its climax in a crescendo of tension and desire, then slowly fades away...

On the whole, a magnificent album that, in my opinion, might be a perfect score for an adventure in the crazy, ancient world of Brussolo's characters Shagan and Junia...

Celebrating 15 years as a musical entity, DAAL, the Italian duo of Davide Guidoni and Alfio Costa has delivered some of the most exhilarating musical statements in the 21st century that have mixed various elements of progressive rock, progressive electronic and pacifying space rock with myriad touches of avant-garde. Several albums and shorter releases later, DAAL is back four years after the double dose releases of "Navels Falling Into A Living Origami" and "Decalogue Of Darkness" with a brand new dose of sophisticated space prog waiting to unfold and slink its way into your consciousness.

DAEDALUS is the band's newest release and yes this is a band. In addition to Costa (keyboards) and Guidoni (drums, percussion and other keys), the musicians Ettore Salati (guitars) and Bobo Aiolfi (bass) are back for another stint with the dynamic duo of Italian space prog. DAEDALUS takes the listener into another hour long journey of nuanced processions through ambience, symphonic splendor and guitar rock heft in all instrumental form as always. The limited edition (with different cover art) adds another three tracks to the original list of six and as always the production is state of the art with beautiful sounds existing on many levels.

DAAL continues to deliver an ethereal mix of progressive rock elements and the abstract nature of this style of detached from reality prog makes it difficult to distinguish one album from the next at least in terms of conveying differences through the means of mere language. The DAAL experience really must be heard to be comprehended. In writing, DAEDALUS continues down the DAAL playbook without much in terms of new elements being added to the band's now classic underground space prog sound. In short, if you are already a huge fan of what DAAL has delivered in the past, then you will not be disappointed in the least with DAEDALUS as it engages the same escapist journey through space rock dreams comes true.

Bookended by the space rock splendor of "Journey Through the Spiral Mind," DAAL showcases its classic repetitive grooves laced with psychedelic atmospheric touches that spiral out into larger compositional fortitude in a logical procession that allows the listener to simply chill out and go along for the ride, a ride that evokes classic prog sounds ranging from King Crimson, Tangerine Dream and Pink Floyd yet never sounding like any other artist from the golden age of prog. Masters of musical foreplay, DAAL introduces digestible melodies and musical motifs that slowly aggregate more accompanying sounds until the equivalent of a full space effect emerges however at no point on the album does anything sound too busy, too crammed with excess and the musical delivery always sounds warm and organic.

DAEDALUS is noticeably less dark than what DAAL was producing a decade ago. Releases like "Destruktive Actions Affect Livings" and "The Call Of The Witches" could be downright scary and tattered the nervous system with impending doom and dread. It also seems that the progressive electronic aspects of DAAL's overall sound have been expanded upon as well with an overall less emphasis on the heavier rock parts experienced on previous releases. DAAL's musical equation is simply changing around the ingredients from album to album and this time around a complex symphony of electronica seems to be the dominant force. Any way you slice it DAEDALUS is another excellent release by this great Italian tour de force. The tracks vary sufficiently to eschew tedium and the music is, as always, professionally delivered with the highest level of attention paid to every aspect of the album's hour-long playing time. In short, DAEDALUS is exactly what the doctor ordered for a progressively infused space rock album emerging in 2022. Looking forward to many more to come.

DAAL are a band who never disappoint and their latest "Daedalus" from 2022 is no exception. I thought this duo had actually expanded to a four piece as the bass player and guitarist who guested on "Decalogue Of Darkness" are part of the "DAAL are... followed by four names" in the liner notes but then further down where they thank people they thank these two and refer to them as being "Our very special guests". So still a duo and still creating soundscapes with lots of atmosphere and mellotron. Some symphonic stuff too like on "Navels Falling Into A Living Origami" but this isn't as experimental as that one. Close to an hour of music over six tracks.

The album opens and closes with "Journey Through The Spiral Mind" Parts 1 & 2 respectively and the opening 2 minutes are haunting then a piano line arrives as it builds slowly. Back to piano only at 5 minutes then it builds again. It's experimental 7 minutes in then back to piano after 10 minutes before turning symphonic with beats and mellotron. The closer is powerful to start with that organ and more. Piano only before 2 1/2 minutes and I love the RPI sounding organ pulsating away before 4 minutes. Symphonic sounding before 5 minutes then mellotron only after 6 1/2 minutes then atmosphere ends it. Headphone music my friends!

"Icarus Dream" is surprisingly uptempo but there are contrasts throughout with the calms. More contrasts throughout "Painting Wings" with the organ helping to create the powerful sections. "Labyrinth 66 Part 1 & 2" is as good as the opener and closer and at 13 minutes a nice long ride. Sounds sweep across the soundscape over and over as keys join in. The rhythm reminds me of UNIVERS ZERO here and this is dark. Finally "In My Time Of Shadow" opening in a spacey/symphonic style. Relaxing is the word with light beats and mellotron but also some guitar and piano. Check it out after 5 minutes, an interesting soundscape here of atmosphere.

This might be the most consistent recording of the seven studio albums they have released so far. No vocals either which I prefer.