MAJESTIC

MAJESTIC is an American group and a personal project apart; metal, new prog, melodic prog rock, atmospheric rock, progressive metal in general; I got to know him with the album "Arrival" in 2009, as time goes by. It is above all the work of Jeff Hamel at the beginning, guitarist of OSMIUM then under the name of MAJESTIC, combining prog ambiences of the 70s with acoustic, symphonic, melodic and metal prog. This album is its 10th and offers long epic tracks with stratospheric keyboards, psychedelic atmospheres and progressive variations, enough to throw headlong into a long and sustained listening. 6 years after his "Epsilon" let's see where he is! "Resist On High" with a spatial intro as we like them for a melodic and energetic crescendo, a soft then nervous rise, psyche break which seems improvised around 4 minutes and then it starts again on a male voice this time before a second final break psyche, hovering over a flight of notes à la TANGERINE DREAM astonishing while we were on a prog metal structure a few moments before. "Silent Horizons" and a majestic intro, uh majestic, pompous, grandiloquent but very beautiful, launching the symphonic melody à la AYREON but more beautiful, which puts you in the ear; more beautiful, longer, stronger at a time when Arjen seems to be exhausting in my opinion, Jeff transcends himself here to give an extraordinary opus; the angelic female voices also being there for this objective observation, a sequel in a more conventional AOR line for this insane, heavy, deaf riff, taking around 8 and 14 minutes interspersed with a blood-curdling siren; this minimalist riff is also immense, dragging you into a trance there; spatial variation à la MONSTER MAGNET after waves rising / falling and the association of male and female voices, finally a guitar solo to melt the rare recalcitrant. "The Wastelands" and a beautiful but indescribable intro to repeat, film music, BANKS, it's a bit world music, ethereal music, hovering music, circumspection; the voice is pitched high here, a similar riff suddenly boosts the atmosphere for a few moments before setting off again in meditative meanders; in my opinion the most progressive of his pieces more Genesisian than Ayreonesque which proves that Jeff listened, stored and thought a lot before composing this track; celestial grandiloquent symphonic end. "Endless Ages" and spatial intro; flute then start at ETERNITY X which I am still amazed not to understand how this album did not gain more notoriety, end of parenthesis. Halfway through, this arabizing and hovering space-time makes you doubt the progressive metal label that still stuck to it, it is immense, contemplative, meditative and bewitching; the final goes up, starts to delirium and leaves on breathtaking guitar riffs and synths, well I put the title back! "Legacy" always with a worked intro, one that confuses you from the start, one that forbids you to know where the music will take you; gentle rise then energetic, the instruments fall into place, it's fresh, spatial, airy, the rhythm becomes heady, the guitar becomes metallic as the title progresses, the second quasi-instrumental title in fact. Note the keyboard every 8 minutes, I'll let you listen I can't explain everything. A certainty, a joyful crescendo at the antipodes of progressive lands, at the limits of the musical maelstrom which still makes us listen to music, PINK FLOYD, HAWKWIND, TANGERINE DREAM, MONSTER MAGNET during his musical interludes come to mind. "Monument" for the ... monument of the album, 24- minute river track harder in rhythm, riffs diffused at the SACRILEGE of "Within The Prophecy" after yet another beautiful intro; the sung part breaks the air with a difficult excursion, it grooves, it starts with CAIRO, MAGELLAN, AYREON again; spatial digression towards 13 minutes, VANGELIS-style sounds for the voices; here you have to take the time to settle down; you shudder, you are moved even though the duration may seem long, it is a more monolithic, a little less exciting, crescendic sequel that can take your concentration out of breath. Note therefore two bonuses available on the Bandcamp platform "Clover Suite 2020" of the original of 2009, in four parts, Jessica with the voice like a remix of the different titles with heavy symphonic prog, vocals, atmospheres, space lands icy inhospitable, musical breaks with acoustic guitar, return of female voices then metal break, in short, it's up to you to make your film because it is more a piece to listen to than to analyze or attempt to dissect; the only thing I can say is that it is Dantesque. "Silent Horizons Reprise" as its name suggests for an acoustic revisit of the title as if to gently descend from the extraordinary musical experience that I did well to take in chronicle.

MAJESTIC therefore merges sounds ranging from DREAM THEATER, YES, DEEP PURPLE, GENESIS, AYREON, RIVERSIDE, PORCUPINE TREE, also HEART and PAT BENATAR for the voice of Jessica; a unique sound in the line of SAVIOR MACHINE for their long musical developments. Strong passages with other atmospheres, soft intros with explosions on frenzied crescendos. I was afraid to hear melodic prog metal, I just ended up having one of the best albums of the year, that you always have to see it through.

MAJESTIC is an American group and a personal project apart; metal, new prog, melodic prog rock, atmospheric rock, progressive metal in general; I got to know him with the album "Arrival" in 2009, as time goes by. It is above all the work of Jeff Hamel at the beginning, guitarist of OSMIUM then under the name of MAJESTIC, combining prog ambiences of the 70s with acoustic, symphonic, melodic and metal prog. This 2009 EP in four parts, Jessica with the voice like a remix of different titles that he was able to compose with heavy symphonic prog, vocals, atmospheres, inhospitable icy space lands, musical breaks with acoustic guitar, return of female voices then break metal, in short, it's up to you to make your own film because it is more a piece to listen to than to analyze or try to dissect; the only thing I can say is that it's dantesque and almost avant-garde.

"Exciting harder-edged symphonic rock"

Majestic is a musical project of USA citizen Jeff Hamel (guitar, keyboards and vocals). He started to play guitar when he was 14 years old, in The Eighties he was a member of prog metal band Osmium and in the Nineties he studied a few years recording technology in Detroit. In 2004 his passion for symphonic progrock led to the foundation of Majestic, between 2008 and 2014 the very prolific Majestic released 8 studio-albums (along two compilation CD's), his latest albums is Epsilon 2 from 2014. This review is about his third album Arrival from 2009, considered as his best effort.

This very long CD (close to 80 minutes) opens with the 22 minutes composition Gray: first a dreamy intro with twanging electric guitar and pleasant vocals, then the music alternates between a fluent rhythm with bombastic keyboards, heavy guitar and a thunderous rhythm-section and a more mellow climate with wonderful female vocals. In between we can enjoy a blistering guitar solo. After a part with fine synthesizer flights, propulsive guitar riffs and ominous sounding keyboards, follows a mellow part featuring all sorts of sounds and soaring vocals. Then a great build-up, the music gradually turns into more lush and heavy, somewhere between gothic and prog metal with heavy guitar riffs and majestic organ. In the final part the music slows down but in the end it's again bombastic with heavy work on guitar and keyboards.

The next song Wish (almost 10 minutes) is an oasis of silence in comparison with the previous song: warm acoustic guitar with soaring vocals, then gradually the music slowly becomes more compelling and halfway we can enjoy an excellent, strongly build-up guitar solo with biting runs and sensational use of the wah-wah pedal.

The third track Gilde (also close to 10 minutes) starts in a prog metal atmosphere, then a spacey interlude and a captivating build-up to fluent and sumptuous with spectacular work on guitar and keyboards.

Finally the epic titletrack clocking 36 minutes! But despite this very long running time, Majestic succeeds to keep my attention, due to the many strong musical ideas and surprising twists and turns. After a spacey intro with subtle guitar work, a pleasant female voice joins, followed by a build-up to compelling and bombastic prog with emotional vocals and fiery wah-wah guitar. Then lots of shifting moods, breaks and great dynamics: prog metal, a slow rhythm with organ and slow drum beats, a hypnotizing guitar solo with fiery runs, a dreamy part with classical guitar, a blistering guitar solo with wah-wah, a compelling bombastic atmosphere delivering organ, vocals and a propulsive rhythm-section and finally a beautiful part with a moving guitar solo, accompanied by sequencers, very original!

If you like harder-edged symphonic rock, Heavy Prog, prog metal or gothic rock, I am sure this album will delight you!

The golden "Epsilon 2" is the natural follow-up to the blueish "Epsilon 1", perhaps intended originally as a double album but any sane artist understands that releasing two double albums one behind the other can be artistic suicide. In 2012, Jeff Hamel released "V.O.Z.", a stunning 2 disc set of volcanic proportions, a sensational heavy neo-prog recording that garnered rave reviews and a whole lot of adulation from Progland and even beyond. The first Epsilon chapter was a delightful package, a hefty mix of cosmic power prog a la Ayreon, some ambient splendor blended with outright heavy metal rifferama, wah-wah pyrotechnics and a cameo by terrific Brit singer Marc Atkinson (Riversea, Nine Stones Close). In fact the vocal display was quite extraordinary. Well this chapter keeps the coals burning bright, as guitarist/keyboardist Hamel and mega- drummer Mike Kosacek continue their rocket-fueled journey through the cosmos, with a flight crew of talented vocalists, namely helium-lunged Chris Hodges, the equally adept David Cagle and recurrent female vocalist Jessica Rasche.

"Generations" is a plodding opener which serves only to warm up the speakers, nothing overtly special or memorable. Soft, hard, soft structured instrumental that gets the juices flowing. The mood really takes off on the bruising "The River", a 10 minute ride into outer space, shuffling guitars clang along unbridled, Chris Hodges crooning passionately, with a Hamel guitar riff that will make you flex your muscles. Subtle little shift then swerves this in an another direction, a sweet tone and liquid guitar leading the way, entirely riveting as Hodges looks beyond the stars , looking for answers. Lush choir synths maintain the splendiferous urgency as the fluid pace gets progressively heftier and more penetrating. Hamel manhandles his fret board, doing unthinkable thinks along its neck, strangling wild notes as they expel from the smoking amplifiers. Things get rabid, angry and insane rather rapidly, we are in space truckin' after all.

The vibrant "Incandescence" is where things really heat up, the lava spurts becoming sulfurous and yet shrouded in eloquent cosmic beauty. Jaunty shreds of guitar slashes, pooling electric piano and slithering synths introduce Cagle's higher pitched rant, a phenomenal voice not too far from Foreigner's Lou Gramm. Hamel flings a monster guitar solo that hisses like some cosmic cat gone AWOL, with tons of effects, whirls and twirls amid the softer dream sections, celestial splendour with Cagle seizing the microphone and hitting all the high notes. Swirling sequencer-led electronics shove this craft into the twilight zone. Very nice indeed.

"Ancient Echoes" is introduced with an unexpected synthesized orchestra, deeply resonating like some Richard Strauss outtake, with Hodges pleading heavily amid more electric piano shimmers and clanging guitar squeals. The mood is definitely cosmic space rock, a modern rock adventure that reaches for the distant stars and serves as perfect escapist music but with balls. Great tune. Things get technical and hectic on the warp-speed propulsed "The Journey Back", a chance for Kosacek to show off some serious bashing while Hamel unleashes a barrage of gritty sound that has a slight Deep Purple feel. This is an instrumental platform that permits the two musicians to show off their rather considerable chops as well as scouting out new sounds (the grunting guitar is quite impressive, Jeff), with layered flying synth carpets gliding the rhythm along, spiriting forward, boldly.

The sweet "Welcome Home" is too damn short, I really admire Jessica's vocals but each second is precious enough. Acoustic guitar, piano, drum beat and Rasche's voice are all just sublime. I would have loved to see this one a bit more extended with denser arrangements and a longer solo.

The longest piece is "Convergence", a nearly 12 minute affair, built like a solar-fueled ballad that goes in all kinds of nebulous quadrants, then slings past whooshing asteroids, skirting the odd space debris , getting metalloid when approaching a moon and scouring the dark space ahead. The cataclysmic mid-section is growl heavy and guitar raging, almost psychotic (sci-fi-cotic?) and proves to be the most developed piece here. Hodges again shows off some angry lungs , to say the least.

"Rise" is a guitar-centric musical erection, nasty and loud, brash and bullying. The stuff Hamel and Kosacek do verge on sheer , weightless acrobatics, this will certainly appeal to the metal heads out there, as there is some serious head banging rage going on, with a mid-section that features a bizarre bubbly synth spot, a sadistic bass rumble, akimbo drums and a measured return to the original lunacy, axes grinding hard and fast. Think Deep Purple again but heavier. Chris Hodges is not a happy camper, which is good.

The disc ends with the more symphonic "Fade", led by a slurring organ and aurora borealis-like orchestrations that include walls of electric guitars and tectonic drumming. The superb lead solo will cause quite a few eyebrows to raise in unison, a strong lyrical sizzle that will appeal to all six-string fanatics. Intense, fiery and yet very original. Love this one!

The two Epsilon discs are truly excellent, worthy successors of the VOZ marvel. I will have issues with the neo moniker, as this seems more space or heavy prog to me. Labelling notwithstanding, this is great music to gaze at the stars.

4.5 celestial Nebulas

Odd that this is my first review for ProgArchives. I always thought that I would pick a more well- known album, or a band of which I'm quite fond of. But neither is the case here. I decided to write this review when I was culling my prog rock playlist. This album is a free download from the artist's website, so trying it was definitely a no-brainer. This recording has 3 long "epic" songs; the longest of which is over 30 minutes! So I was quite looking forward to it. Unfortunately, as is the case too often with modern "epics", they are mostly a stream of disjointed musical thoughts, stitched together in the studio. The album is quite formulaic, using simple two-or three chord progressions in a somewhat ambient format, with overlays of other instrumentation. The first song, Labyrinth, is the longest, but also the least interesting piece. It flows from musical idea to musical idea, without much direction. None of the ideas really catch my interest. The drums (particularly the cymbals) are overpowering and do not add the desired energy to the track. There are some nice vocal interludes here, but if I am going to spend 30 minutes of my life on a song it needs to be a lot more interesting than this. I have removed it from my playlist. The second song, Mosaic, begins as a very Floyd-ian piece. A simple chord progression sets the mood, but the solos are much more riveting. This is for me, the highlight of the album. Unfortunately, after about 5 or 6 very interesting minutes, the song changes direction. It ends up being a corned beef hash of three differing musical ideas. It would have been much better broken into three different songs. I have kept this song in my playlist. The last song is the most proggish on the album. Again, it is a mish-mash of musical directions, but they are more interesting than on the first track. I quite like the ending. I have kept this song in my playlist (for now). Overall, not a bad album, but doubtfully one you will not want to spend a lot of time with. 2.29 stars, rounded down to 2.

Something new majestic is turning out, yeah! The band name perfectly matches due to a bombast approach coming up, equipped with symphonic keyboard patterns. As for that Jeff Hamel consequently continues his - definitely successful - concept with 'Epsilon 1', while merging neo and heavy prog as well as some metal and spheric psychedelic moments. As I was really amazed by the forerunner 'V-O.Z' I came to this with much curiosity, that was to be expected.- hence probably associated with defined standards which are relatively high.

Jeff routinely handles nearly all the instruments, except the percussion work which is Mike Kosacek's business once again. Even the vocal line-up is quite similiar to the prior album, though only quite, as - really noticable - Marc Atkinson is appearing for the song Starlight. Not wanting to bash the other vocalists in any case, but Marc and Jeff are very compatible I want to accentuate, as they both have the ability to represent a special melancholic sentiment. A very nice song, however this partially sounds only a few stones close to 'A Secret' somehow, which we already had on 'One Eye On The Sunrise' in 2012.

As a designated psychedelic/space rock fan, of course I have to notice Event Horizon - this comes like they (Jeff and Mike) are jamming a lot here, until vocalist David Cagle interfers into this affair sooner or later. 'Epsilon 1' establishs its real strengths especially when reaching for the second partition, the Epsilon suite as such. Musicianship is great without question, consequently this one is a solid prog album, again featuring a crossover of styles, nice vocals and harmonies, thus a recommendable offer to purchase without a doubt - 3.5 stars.

Majestic keeps on rolling with a 2014 release, the heavily sci-fied 'Epsilon 1', a future musical universe of galactic dimension. As usual with multi-instrumentalist and compose Jeff Hamel, the discerning prog fan will be comforted with the usual parameters to rely on, such as Hamel handling all the keys, bass and guitars, plus the ubiquitous epic suite to dazzle the minds, as well as some neat surprises. One such revelation is the presence of the unique Marc Atkinson (ex-Nine Stones Close and currently manning Riversea) , a voice that is about as melancholic as it gets, who guests on the third track 'Starlight'. This album represents a definite maturing in the depth of Hamel's vision, closer than ever to Ayreon's epic grandiloquence, propelled by Mike Kosacek's heavy metal drum pounding. The remaining cameo spots are vocalists Celine Derval, Chris Hodges and David Cagle.

The symphonic brouhaha begins with the fiery 11 minute+ 'Chariots', featuring Hodges' heavy rock singer voice. Echoing pools of ivory splendor with some lush mellotron torrents, the mood expands into a harder edged universe, clanging guitar chords fighting off both heavier riffs and thunderous drums.

The psychotic 'Mother Dearest' is even heavier and brasher , skirting into outright metal horizons, emitting a DT, Roswell 6, Rocket Scientists feel, with Kosacek in particular bashing a hard bass drum , fueling some leaden riffs, screeching leads and propulsive bass. The dissonant mid-section emits a strong sensation of perplexity, cottony surrender and flaccid drooling. Swirling moods, vocoded voice (Derval) and intransigent guitar shavings create quite a magic carpet ride of inane psychedelic mania.

There is no denying Marc Atkinson's voice commanding deep respect on the luminous 'Starlight', he is the owner of one of the finest voices in prog, a moodier version of Steve Hoggarth and Mark Hollis. His vocals have a pleading and reverential quality that is impossible to emulate, profound melancholia and tight emotion are intertwined with delicate creativity. Swivelling synthesizer keeps the mood floating towards a higher purpose, contemplative and introspective, Hamel's lead guitar excursions providing all the shriek and strain needed to raise the goose bumps to a higher level. Ten minutes of ample bliss and hefty beauty.

As per his back catalogue, Hamel usually excels in the epic suite department (check out 'Arrival') and the 'Epsilon 1' extravaganza shows once again what a terrific composer the man is, building a three-part 24 minute + symphony of galactic fare of the very highest pedigree. This is rightfully the core of the album and is the defining factor in its inherent excellence. 'Event Horizon' is first up and longest of the trio, setting the tone for the imminent journey as Hamel has his axe screeching with impunity, weaving a clever and dense melody that will set the controls to the heart of the Epsilon universe, displaying a sublime blues-based technique that shines ever so brightly. The synth-blown main theme is achingly dazzling and revealing, with new vocalist David Cagle introducing his impressive Lou Gramm-like voice to the front of the stage, amid the glittering adornments and the steady beat from the ever reliable Kosacek.

Part 2 'Doorways ratchets it up a notch with a platform for some serious soloing including stellar lead guitar that is both very linear and exceedingly corrosive , all pushed forward by a turbocharged rhythm section, plowing madly forward. Hey, a little 'boom-boom-tchak' blowout is always welcome! Phenomenal and exciting, this will get the string mellotron fans excited as the walls of sound become bombastic and tyrannical, tossing in some insistent piano as well as the buzzing guitar insolence. Damn this is virtuous stuff indeed!

Part 3 'Samskaras is the icing on the cake, a return to the part 1 theme and a more ominous bass growl , Cagle now howling his inner pain while the guitar gently bites, snipes and chews relentlessly. Grandiose and magnificent, the Majestic sound has precisely that attribute in spades, a constant energy, a devout passion and incredible delivery. The mostly vocal finale is proof in the pudding, a glowing eruption of sheer delight. Typical sci-fi cover art adorns the package, another worthy effort in a splendid Majestic career, with many more to come, we all hope! I have become a huge fan of this unpretentious artist, you all need to give it a try.

4.5 planet Zorgons

2009's 'Arrival' is a splendid career-making monument to multi-instrumentalist Jeff Hamel, a composer and artist of the very highest order who unfortunately does not yet receive his meritorious due. Well, I feel a gross injustice in seeing too few adherents to such a stellar musician and his craft. Majestic all started for me with the unexpected genius of 2012's 'V.O.Z.' a killer double CD of the very highest caliber. So I went out and got from Jeff the latest 2014 release 'Epsilon 1' and this slice of genius which had already received very high ratings. I was also inspired by the rather simple artwork which somehow harkened back to Robin Trower's classic 'Bridge of Sighs' (in my opinion, a huge missing link on PA). 4 tracks, two long ones and two shorter ones, all stellar stuff!

A bold move to kick off an album with a 22 minute rambler but 'Gray' gets it done. Both Jeff Hamel and Jessica Rasche combine to entwine their vocal chords in a brief serenade that precedes the booming explosion, a bull-dozing mellotron and guitar assault on the senses, sternly powered by some potent drumming. One can conjure similarities with Ayreon (or its softer off-shoot Ambeon) or Polish heavy-prog advocates Riverside but Hamel likes to bejewel his own diamonds into the mix, tallying voice effects, grandiloquent arrangements and sweltering soloing on the guitar. Essentially full-on turbo prog motoring, the relentless assault is vibrant and epic, a steamroller with attention to melody and detail. A playground section has children voices playing in apparent joy, sweeping synthesized winds blowing the leaves across some fictive carousel, leisurely building towards another glorious chorus (Jessica has a fine voice!), the bass climbs on the bandwagon and Hamel slithers up and down his fret board with apparent glee. A sudden morph into a quasi Hawkwind-like riff , more thumping organ and drums in unison and POW, a slingshot into the cosmos! An emblematic Floydian mood is then firmly established with sublime female wailing, Hamel then offering up a vocal counterpoint and letting his brash guitar do the ranting! Crash and burn outro gives this piece some serious credentials in terms of substance and power.

The immortally striking 'Wish' is perhaps one of the finest tracks in the last 10 years, an explosive cocktail of urgency and desire, complete with stunning acoustic guitar work and much later in the track, a long, sensual and saturated solo of incredible stature, feel and immensity, a true guitar solo classic of the genre. Crystalline droplets of shimmering beauty permit Rasche to blow the roof off with some Kate Bush-like wailing that will force any prog fan to kneel in absolute reverence. This uncomplicated piece has captured my deepest interest and I find myself returning to it often and with great anticipation. What a genial performance!

The rambunctious onslaught of crushing bulldozer rock found on 'Glide' will undoubtedly wake you up from any mid-afternoon siesta and get you pumped up, big time! Unwittingly on the heavier side of the spectrum, this 9 minute+ rocker will raise the heart rate and provide an exhilarating sense of enjoyment, again due to the explosive Rasche voice, as well as the stunning keyboard, bass and drum work executed by Mr Hamel. His gurgling synthesizer solo spot will enhance his leaden rifferama to the highest apex, twisting on a dime, stop- start accelerations and just merciless soloing.

Then to close off the proceedings with a whopping title track 36 minute finale ,well that takes guts, balls, cojones , call 'em what you will! Astrophysical seminar expertise effects , tolling guitars announcing some interplanetary event on the horizon , a hint of Yes (Soon section on Relayer), an unmistakable dash of Funkadelic's classic guitar rant 'Maggot Brain', some vigorous symphonics , incredible vocal inflections from Jessica Rasche that all conspire together to construct a memorable main theme that will sear your brain. Nothing rushed or formulaic, always fresh and exalting, constantly pulsating and energetic. The 'show me now, how to live' vocal section is outright orgasmic, terrifically inspired guitar blasting notes beyond the stars. No fluff here! Then follows an extended instrumental platform where the master gets to show some serious chops and intensive creativity. Loads of endless screeching wah-wah infused guitar, played by a man possessed but mostly, an unconcealed sense of effortless enjoyment. As far as massive epics go, this one reigns supreme! Jessica blasts forth some 'little pieces' with incredible energy, a vocal tour de force that will blow your mind or your speakers (or both). WOW!

It stands to reason that this is the highest rated Majestic album to date, a massive success in terms of heavy neo-prog but honestly, Majestic is a cinema show on its own standing, utterly deserving of the highest accolades and most exuberant applause.

5 Departures

The second album of Majestic aka Jeff Hamel was released in 2008, just a few months after ''Descension''.The material of this work was again written a few years back, but -unlike Majestic's debut- this one was released on Andromeda Recordings, following a commitment of the artist to the label.Some vocal parts are credited to a man named Di and the only flute part of the album to a figure named Elzbieta.The title was ''String theory'', expect no strings to appear in this work with the title refering to the invisible bands of energy dominating the universal space.

As aforementioned, no string are expected to be heard, expect though to listen to lots of spacey and orchestral underlines in such a cosmic concept album, wrapped in the already set Heavy/Neo Prog style of Majestic.The music follows the sensibilities of PINK FLOYD and PORCUPINE TREE with heavy contexts surrounded by ethereal textures with Hamel providing a balance between melodic and atmospheric passages.He calls his album ''symphonic'', but this one gets much along the lines of COSMOGRAF, NINE STONES CLOSE and RIVERSEA, flirting with old and modern styles in an equal manner.Guitars are the leading instruments with plenty of electric leads and some acoustic overtones (where GENESIS come in mind), featuring nice grooves and solos with heavier runs and some psychedelic distortions, but the concept is always surrounded by some gransiose keyboard parts with spacey and orchestral inspirations.Vocals are expressive and powerful, albeit not of first-class, and the whole work runs easily, based on the endless changing climates and the ability of Hamel to combine perfectly melody and atmosphere.Apart from the grandiose keyboard background, there are also plenty of dynamic synth flashes with the Neo Prog influences becoming more than apparent during these moments.''Tonight'', the only track with flutes, is a great attempt by Hamel on a more retro-styled Prog Rock and a more laid-back, almost CAMEL-esque enviroment, certainly among the most versatile pieces of the album.

Jeff Hamel was here to stay and not releasing his personal work would be a shame.This is some pretty nice modern Prog with lots of energy, passion and interesting ideas, featuring the great talents of an emerging Prog composer.Recommended.

In 2004, multi-instrumentalist Jeff Hamel (from prog-metallers Osmium) started working as Majestic, working mostly on his own with just the occasional guest singer. After releasing a couple of albums he joined forces with vocalist and lyricist Jessica Rasche, and together they worked on 'Arrival', which was released in 2009. There are only four songs, but with an album length of over 77 minutes you can work out for yourself that they are a little long. In fact, there are only two real epics, with the two in the middle being 'just' nine minutes each. At no point this this seem like a project, as there is a real band feel to the proceedings and there is also a great deal of restraint so that all of the music makes sense as opposed to self-indulgency, which can creep on some projects. Another thing that really hits home is the lack of fat within the songs. The first time I played this I was astounded when I realized that "Grey" has been playing for more than twenty minutes as I had the impression that it had only been on the player for a very short period of time.

Symphonic, yet with plenty of prog metal overtones, elements of Floyd mixed with some of Dream Theater, this is a heck of an album. If you go to the website and sign up to the newsletter you can download some albums free of charge so why not give it a try? www.majesticsongs.com