SONUS UMBRA

Let's be honest, here is a band that I had totally lost sight of since 2005 and their very disappointing fourth album of the time "Digging for Zeroes"; so I skipped the records of 2013, 2016 and 2020. SONUS UMBRA act eight at the end of the first half of 2024 presents us with "Whiteout" no more no less an album of almost seventy minutes for a single title cut into seven sub-parts increased by three extras at places 2,5 and 8 which fit perfectly into the mega suite. Luis NASSER the Chicagoan still leads the boat or rather the big sailboat with faithful musicians who come from all over the planet, no singing on the work, only "spoken words" on certain beaches to explain what the UNITED STATES OF AMERICA have become today, on the sidelines of an undeniable militancy speech ("Imperfect Ally").

The challenge is to swallow a single title of such length in one go, which I have always refused to do since the dawn of time, the necessary concentration is impossible over such a duration, so I listened to the album part by part or two by two or even three by three, the sumo wrestler on the cover inviting us to a certain auditory distrust. Likewise, rating the titles as I do regularly was in this case too difficult, so you will find in these lines only my preferences but also a few scratches.

Luis NASSER, bassist by training, supports most of the pieces with his four strings and a very forward sound recording, we are never better served than by ourselves ("Whiteout Part 2 Aurumboros" and "Whiteout Part 3 Veterans of the Incel Pixel War" are the two best examples), moreover they follow each other which is perfect for a musical analysis, the guests Pete LARAMEE on guitars and Alan HEARTON on Hammond organ showing themselves to be particularly brilliant in the two sub-parts, each in turn. We will also note the very good opening track "Whiteout Part 1" which installs a real climate favorable to what will follow, with the sharp six strings of Tim McCASKEY.

The piece that gave me a good headache to dissect it is the longest "Whiteout Part 4 Incognegro" and its sixteen minutes, very and even too patchwork for my taste with a jazzy intro (themes that we will find a little later), knitting of six strings in the DIRE STRAITS style and also the one that contains the most "spoken words" (Averi Lynn BOYD and Mélodie SHAW) in short to listen to a good ten times before perceiving all the qualities, the second part from 9:00 being more pleasant and easier to listen to than the first with a hell of a bass guitar (crimsonian hints in the Tony LEVIN style) but also the chopper guitar of Aaron GELLER in lead and crunch (I let you look up the definition on the Internet).

For parts 5, 6 and 7 of the title track I'll make you a package of the whole thing, "Into the Maelstrom" features Aaron GELLER again as in the previous track, "Antropocene Blues" installs at the bow the inevitable Mattias OLSSON present on many progressive productions for a good quarter of a century, here on percussion and mellotron (the last fifty seconds are an unparalleled piece of crap) and Aaron still there, finally "Epilogue or Requiem" rather relaxing, with an acoustic lead guitar all in Knopflerian restraint, which precedes an explosion of HAWKWIND model synthesizers from all eras.

Open wide all your chakras and take the time to discover this SONUS UMBRA album, the reward will be at the end of the long road.

Progressive rock is often a perfect platform to musically expand on a multitude of subject matter, from esoteric musings and science fiction laced tales, to social and political commentary, as well as analysis of the human condition. This eclectic American band pulls no punches when addressing the current global malaise, offering sharp rebukes to the increasingly alarming extremes that permeate society. While their message is one of humanity, we all do live in a world infatuated with personal opinion, and as such, everything can become a well of endless debate, often for the sake of challenge or revolution. Each listener will heed or reject the message delivered as befits a pluralistic open democracy. I am here for the music, which is by any set of parameters, outstanding!

The title track sets off the voice effects with a sensational electric guitar musing that literally cries out with urgency and pain. Tim McCaskey and guest Aaron Geller stretch their strings to the breaking point, as bass man Luis Nasser begins the gentle cage rattling and co-conspirator Andy Tillotson banging his kit in defiance only at the very end. The stormy debate is unleashed on "Amnesia Junkies Part 4", a cosmic rant fully sprinkled with "locker room talk", mostly some of the classless comments from Mr Trump, who epitomizes the modern confrontational politician, now available on all sides and all continents seemingly insulting and being insulted is the new version of political exchange (which is why I personally lost faith in politicians decades ago). The arrangement is quite close to vintage Gong, blending the sound of space and the absurdity of human coexistence.

This classic sound is even more pronounced on the flute and synth volleys on the epic "Aurumboros", rekindling images of Malherbe vs Blake, while Nasser does his Howlett bit and guest Mattias Olsson shows off his Pierre Moerlen impersonation. The chaotic nature is fully enacted by the legendary words of Gordon Alan Gecko in the movie Wall Street, expressed in controlled intensity by Michael Douglas. I remember being in a cinema when that premiered and all the young dudes in the audience looked at the perfect anti-hero (the hell with Batman, Superman and Spiderman) and yelled "I wanna be like him!". Low and behold, a few years later, they appeared: Kozlowski, Madoff, Enron, Xerox, WorldCom, Lehman Brothers, Adelphia, Parmalat, Elizabeth Holmes, etc? And to say, we are not influenced by media! LOL.

This segues nicely with the terrific bass onslaught on "Veterans of the Incel Pixel War" with floating pot-head pixie images galore, synthesized turmoil oozing from very pore, a wickedly evil Pete Laramee axe blurt and some raunchily rancid organ courtesy of Alan Hearton, showing off his Brian Auger studies. Tremendous progressive rock, to say the least. The voice effects continue pounding the message that hints at INGSOC period Orwell.

The proverbial change of mood arrives with "Imperfect Ally", almost a well-needed lullaby in comparison, with ornate piano decorations suggesting a more serene interval from all the madness and confusion. The massive 16 minute + "Incognegro" reignites the bass guitar lead, Nasser egging the others into a maelstrom of groove, laden with pain, agony and drama, dual guitars raging as they criss cross the angry streets of the arrangement and a MLK slice of emancipation and justice (yes children, there was a time when leaders were gifted with the art of oration!). Nasser then decides to do my favourite thing in prog: a serpentine bass solo that chugs along like a mourning funeral train. He is truly a master of his instrument and fully on top of his game. Brilliance incarnate. The mellotron makes a careening appearance, secured with some thrifty guitar riffing, tingling synths calm the atmosphere with appropriate majesty. Piano, words and sombre reflection terminate the arrangement.

After such utter poignancy, the need to venture into a different light is needed, "Into the Maelstrom "surprises with its floating qualities, the bass still calling the shots in the undercurrent, as the steaking electronics scatter the horizon's wispy clouds. The level is raised but not in a forceful way, perhaps a bit more manic and expressive than noisy, and that is just perfect like that.

With its buzzing guitar stings, "Insects Part 4 Vita Pascitur in Vita" reverts to a muscular tone, verging on metallic rock, as it increases the swagger and builds into a volcanic keyboard foray (Brian Harris). The drums now are flailing, guitars back to biting off large chunks and shifting the spotlight to a poem of spoken word finale, with a piano as company.

'The Garden of Eden is no more' are the bleak words that introduce the "Anthropocene Blues", a time long ago, when the planet's humanity changed to become both empirical and bellicose, stretching and analyzing the extremes of mankind's propensity for good and evil. Magnificent creations and unspeakable horrors intertwined between inner and outer influences. The music is suitable restrained, absorbed and ponderous, and since I love history as much as music, I can easily find the markers discussed by the frail voice of the philosopher, finding myself in comfortable territory for thought and understanding.

This veers to the finale "Epilogue or Requiem", the human condition in all its complexity, absurdity and incredible ability to forget the good and concentrate on the bad. I remember vividly as a child looking up at the Apollo moon missions. Armstrong setting foot on the soil while I was behind the Iron Curtain for a visit in a summer youth camp and seeing the lack of political divisiveness at that precious moment, when all of humanity was truly ONE. Just for a moment. Essential......if we are to survive.

4.5 existential snowstorms

A strong album with a resonant sociopolitical message!

Sonus Umbra is a band I've been familiar with for several years, I remember my first approach was only because I knew their mastermind Luis Nasser was from my country, Mexico, so I wanted to explore more about them, and yeah, liked what I heard. Though the band have delivered a diversity of sounds and concepts throughout their discography, I think there is a constant element in their work, which is the ability to reinvent themselves without losing their essence. And I think that was what they just did with "Witheout", their first album after pandemics.

For this release, Nasser emphasized his rebellious spirit, wrote his ideas down and transformed them into an 10- track album with a running time of 70 ambitious minutes where prog rock and political responsibility converge. His teammates this time are long-time friends and colleagues Tim McCaskey who is in charge of guitars, and multi- instrumentalist Andy Tillotson, both members of Sonus Umbra, however, there is a nice amount of guests musicians or let's say unofficial members such as Aaron Geller, Pete Laramee, Anglagard's Mattias Olsson or Luz de Riada's Ramsés Luna.

As Luis Nasser himself mentioned in a video posted on the band's social media, this album is a plea, a plea for equality, for ending racism and fascism, for a better life; and though it mainly relates to the United States, the message can be appreciated by any citizen in the world. So the first part of "Whiteout" opens the album and since the first seconds we can listen to some phrases made by politicians or public figures who could / can influence people. Then the music delicately enters, with guitars as main elements, while a tense atmosphere is created by keyboards and bass shares its first notes. The last part is a bit stronger, drums appear and then we end-up listening to some far screams until a villain-like voice joins; when that happens, we have reached "Amnesia Junkies Part 4", that voice (I presume is Nasser with some effects) welcomes the "21st century schizoid nazi", with a dose of humor, however, the critic is not really implicit but explicit. Then the rhythm led by bass and drums make us move our bodies and feel hypnotized. The use of spoken word is a crucial element in this album, but more interesting that those words barely come from the band themselves, for instance, here we clearly listen to the lunatic Trump's voice. But well, the music is great, the bass is amazing and I love the synthesizer work by Steve Katsikas, adding a kind of psych flavor on it. This track finishes with an outstanding guitar solo.

I was surprised when I listened to "Whiteout Part 2: Aurumboros", because I immediately made the connection with Luz de Riada. Yeah, Nasser is also part of that Mexican band whose latest record includes a song with the same name (though I think maybe a letter change): Aurmboros. Well, it is, but it is not the same! Haha, because this Sonus Umbra track has those spoken words, but I also think they did some changes to the song, I am pretty sure they re- recorded it, because it sounds a bit different indeed. Great song, though. "Whiteout Part 3" keeps those bass lines making the rhythm, but I like when guitar notes appear because they are not lineal, they never share the same chords or notes, so along with the synths, the music becomes a bit colorful, in spite of that sense of protest and social satiety it has. A heavier passage begins after 2:30 with once again an amazing guitar solo by Pete Laramee included. Sometimes I don't really know where to place Sonus Umbra's musical style, I mean, prog rock is evident, but is it symphonic?, is it experimental?, is it Crimsonian or Floydian? Don't know, and as a matter of fact, don't care.

"Imperfect Ally" is a softer track, atmospheric, that might work as a kind of interlude, a moment of reflection. Delicate piano notes and a gentle rhythm, bass and guitars here and there, and some celestial female vocals as background which I presume come from former Sonus Umbra singer, Brittany Lee Moffitt. The music stops but there is one minute left, so Nasser appears with his spoken words to talk about the felonies made by US police, who with a lack of justice have detained and even killed innocent people, mostly African-American. The band pay a sense tribute to these innocent and unarmed victims by saying their names.

And then a 16-minute monster appears. "Whiteout Part 4: Incognegro", the critic and satire come in the title itself. The first two minutes come stealthily building-up a structure that will have a first mini-explosion at minute three, when the intensity increases. The musicianship is great, Nasser's bass take us even to Tool, while McCaskey and Geller intercalate their great guitar skills taking us into an adventurous road. A somber piano and spoken word (speech) passage come after minute five, but then at minute seven Crimsonian guitars appear and the atmosphere changes, becoming even tenser until minute eight where drums and bass drastically change the direction (yeah, other Crimson vibes, but different). Nasser and Tillotson let us know they perfectly know each other, because there is a passage where they speak at unison, creating an interesting chaotic passage. Of course, with a song this long it is normal to have several changes in rhythm and mood, and I like a lot the one at minute 12 where keyboards take over for a brief moment. The last minutes are basically a piano background while spoken words reinforce the plea.

"Into The Maelstrom" is the fifth part of "Whiteout", which focuses on the music and leaves for a moment behind the speeches. Don't want to sound redundant, but once again it is clear to me how the musicians understand each other well, Tillotson and Nasser really work as a synergistic entity; while McCaskey and Geller are genious in where and how to add their strings. Four minutes of vertigo and then a sudden change in the last minute, where atmospheric keyboards appear. "Insects Part 4" starts with some speeches, and then a heavier rock rhythm strikes, leading me to shake my head. An hypnotic passage starts at minute two when guitar joins and take the leadership, backed by bass and drums. But seconds later a bombastic symphonic keyboard solo made by long-time collaborator Brian Harris takes over. The energy stops at minute four, and just as the previous track, the last couple of minutes are spoken word over a delicate piano background.

We are reaching the final part of the album, first with "Witheout Part 6: Anthropocene Blues" whose sound could easily belong in a film scene, spoken word, soft strings and delicate drums and then mellotron adds its shiny sound as background. Later the music develops new rhythms and in each round the notes are changing so the music is never plain. Despite starting in a soft way, the sounds morph and turn into a chaos for some seconds, just before returning to its original form. "Whiteout Part 7" the Epilogue or Requiem has a desolated feeling, just like our actual world, where a lot of sad things happen in a daily basis. The sounds keep the same pattern, while there are messages being delivered by some speechs, strings, drums and synth effects are in the back. And it flows, with that somber energy, until its very end.

This is a great album by Sonus Umbra, a bit long if you ask me, but its been clear to me that they are trying to plant a strong message through art, which is always welcome.

This 2020 album is very much related to the previous one in terms of story and style, with a major difference being the departure of co-lead singer Brittany Moffitt, and Roey Ben-Yoseph now working on his own. The other change is that cellist David Keller has been rewarded for his work on other Sonus Umbra albums and is no longer a guest but is a full member. Again, this is an album of complexity and layered arrangements which is an absolute delight from start to finish. By having both a flautist and cellist in their mix, along with three people providing guitar and a couple of different keyboard players, they can bring in many different influences and textures.

Luis never truly forgets his Mexican roots, and there are times when those influence come shining through, and yet again it is only the polish which makes one realise that here is an American band as they are far more rooted in the styles of classic prog coming out of the UK than the US. They are also not afraid to have long passages with little or no drums, which gives the music a very different feel, and often it seems as if they start building songs on picked acoustic guitar, which provides them with a different starting point to many. Some albums can make the listener feel like they are having a snack, and while it is filling at the time it does not take long for the stomach to feel empty, but this is much more like a rich banquet where the listener not only does not know where to go first but knows that by the end they will be truly fulfilled. They are constantly moving, even within the same song, rarely staying with one melody or style for too long but are constantly shifting, changing the lead instrumentation and time signatures so that one truly never knows what is coming next.

They may have dropped off my radar for 20 years, but now I am aware of them once again I am going to ensure I hear the next album when it comes out. As I write this, there has not been a single review on PA of this album in the year since it was released, which means there are a many other progheads out there who have yet to discover the delights of what is a thoroughly enjoyable album.

About 20 years ago I used to be in contact with Brian Hirsch, who set up Moonchild with Andrew Robinson (Magus), and once he realised there was someone who was as mad about music as he was, he flooded me with material from tapes to CDs. One of these was an American progressive rock band who used to be based in Mexico, and their second album, 'Snapshots From Limbo', which I thoroughly enjoyed. Brian and I lost contact, and apart from Jeremy Morris, I don't believe I heard from anyone else involved with the label until earlier this year when Sonus Umbra again came onto my radar. They released four albums in fairly quick succession, before an extended break, with their fifth not coming out until 2013. There had been some significant line-up changes, with only bassist and founder Luis Nasser and guitarist Andrew Tillotson playing on the albums either side of the break.

However, between 2013's 'Winter Solstice' and 2016's 'Beyond The Panopticum' the band had remained fairly stable, although by now Tillotson had switched to drums and acoustic guitar. They also had changed considerably in size since I last came across them as whereas they used to be a quartet (admittedly with 3 guests), now they also included Roey Ben- Yoseph (lead vocals, percussion), Tim McCaskey (acoustic & electric guitars), Brittany Moffitt (lead vocals), Rich Poston (electric guitar, keyboards) and Steve Royce (flute, keyboards) as well as guests Colleen Corning (clarinet, bass clarinet) and David Keller (cello). Given the huge change in personnel, with only Luis remaining from the group I first came across, I would have expected a major change in musical direction, and while that is what has happened in some ways, it makes perfect logical sense. One thing I really liked about their music used to be the musicality and melody, and less on the neo- prog, and that is exactly what we have here. They have two singers, but there are long passages where they leave the stage for a well-earned break as the rest of the guys weave a magical spell. In some ways they come across as American with their polish and finesse, yet at others they are looking strongly into the UK for inspiration, although at the very beginning of "Love Undone" they remind us that in another lifetime they started in Mexico.

The CD comes in a four-pane digipak and I was amazed at the care and attention which has gone into the physical release, which contains all the lyrics, especially when this is independent and not signed to a label. Coming back to them after a break of two decades has been something of a revelation, as this complex progressive rock album is a delight from beginning to end, with hugely layered musical arrangements and two very fine singers indeed. This is a superb album that any fan of the genre would do well to investigate.

A new SONUS UMBRA album is always a major event in the prog rock community ! Why ? Because this band offers only high, top quality albums and the wait always worth, cause we are always rewarded with great music from the guys ! A SKY FULL OF GHOSTS offers something which is rare and more and more difficult and hard to find, to discover in todays music! Passion, sensitive artistic display and soul ! SONUS UMBRA music is something very unique , complex and emotional !The vocalist is exceptional and expressive and the music itself as a sense of sensitivity, drama and eclectic presentation !It's a great combination between vintage prog, old school a la Jethro Tull ( because of the flute, obviously ) , Gentle Giant, Kansas and other old school prog rock icons! Never too demonstrative, but always spectacular and catchy, SONUS MBRA music is something that causes surprises on each album and proves that the inspiration and imagination of this band is endless! Hard to find any particular song, the whole album is very organic and is inviting the listeners to an marvelous journey, full of interesting musical twists which wait to be discovered ! Definitely, to get 100 % into the message of this exceptional album, you need many auditions, cause it's a complex music ! The use of acoustic guitar and a soft electric one makes a clever and attractive combination ! Everything is so well composed and arranged, this album is an ear candy for all prog rock top class quality fans.4 stars for the exceptional music and 0.5 stars for the wonfderul artwork !.Endless respect for some uncompromised artists which have a precise, clear and noble mission in todays musc!

This is wonderful!

In the mid 00s when I started listening to progressive rock, I remember I went so some prog sites in order to look for Mexican bands, and, though Sonus Umbra is actually not a Mexican band, its roots, and its mastermind are, which is why I felt the need to know their albums. Later, for some years I did not follow their tracks until a couple of years ago, when they visited Mexico City for a wonderful and intimate concert in which we could witness them playing mostly songs from Beyond the Panopticon, their latest release which believe me, is great.

The album is not that long (43 minutes approx), which I love because it runs so fast that I can play it twice in a row without a problem. It features six compositions that show a different face of the band, an eclectic, fine and delicate sound made by low profile but first- class musicians. There are killer instrumental moments but a think I loved is they have both male and female singers, making an equilibrated ambitious experience.

It kicks off with "Grotesquerie". Heavy prog in the first seconds contrasted by softer moments that make a very cool prog rock journey in which the band show their fine skills. The bass is always present as a main instrument, it has to. Piano, flute, guitars (acoustic and electric) and drums, all sum-up a wonderful combo that make this a very good instrumental opening track. "Alone Together Alone" is a longer and colorful track. I love that Sonus Umbra doesn't have a specific classification, I mean, their eclecticism shares heavy prog moments, some folky passages or symphonic arrangements. After almost three minutes Ben-Yoseph's vocals appear for the first time, adding a soft and delicate sound to the already great music. Later, Lee-Moffit's voice also appears and both sing together over a flute and acoustic guitar background, creating some kind of joyous atmospheres.

"Blood and Diamonds" bring to my mind Jethro Tull immediately, and not actually due to the flute's sound, but due to the guitar and that initial part that is repeated later. The music develops different phases and structures, so the music is never plain, it fact, its changes could work as a novel so you can create your own mind story. I love Tim McCaskey and Rich Poston's work, their delicate playing can be so profound that it hits you deep inside. Lovely! This is a great and friendly prog rock song without a doubt. "Paramnesia" is a magnificent instrumental rollercoaster; it was my favorite song when I first listened to the album. Once again the musicians show their wonderful skills and how they understand each other. The song adds a clarinet so they bring a kind of chamber rock sound in the beginning. Later it makes some changes, becoming a bit more aggressive for an instant just in order to calm down and reach for a spacey sound made by keyboards. Then a calm moment but all of a sudden electric guitar appears with a killer solo. Awesome!

The album is reaching its final part. "Love Undone" is the shortest composition here, it brings both singers adding their soft but passionate vocals while acoustic guitar works as background. Then there is an instrumental passage with some cool percussion that is developing a new structure little by little, in order to reach the climax, which is the final part of the song. Last but not least, "Channel Zero" which is, in the other hand, the longest composition of the album. It has a dark atmosphere created by the bass sound and a cello. Later it becomes more colorful and though that dark nuance is kept here and there, the light and peaceful moments appears later with the exquisite acoustic guitar. It is an excellent song to finish a wonderful album.

Of course, I recommend this to you. Sonus Umbra is a great whose music should be spread to more and more ears in the whole world. Enjoy it!

A new SONUS UMBRA album is always someting exciting and it deserves to be signaled in the prog rock community!2 years only after the excellent WINTER SOULSTICE album,mastermind Luis Nasser and his talented musical companions,are back with a new album!And what an excellent surprise is this album,a true revelation!Slightly different to the previous albums,this new opus shows a more mature aproach of the band and more complicated and tortured musical vision,but in the good sense!Definitelly,BEYOND THE PANOPTICON is not an easy and superficial musical experience!Au contraire,it's a marvelous musical journey,and the whole album is very cinematic and rich in audio images,we are invited for a fantastic,transcedental journey and in the end,we have the feeling to be a a part of a great musical endeavour!For a little more than 40 minutes,the album is a little too short,but it's dense,rich and loaded with amazing musical ideas ,that's for sure!The instrumental opening track-GROTESQUERIE- is absolutelly stunning,it reminds me a little of Psychotic Waltz,we have here an unleashed display of technical scarry skills of all the band and there's someting fabulous for an opening album track!The title of the composition says everything!Then,some wonderful complex compositions,with dual -male/female vocalists,and the presence of a flute,a marvelous instrument,but with a morbid vibe,and our thoughts are going to the great Jan Anderson,but mostly to Devon Graves,or Buddy Lackey of Psychotic Waltz or DEAD SOUL TRIBE mostly!Interesting production,great vintage sound and that's a superior charm of the album,in my humble opinion!Overall,a great musical experience,where you are invited,another majestic work from the imagination and huge talent of Mr Luis Nasser,and the promise for a trully memorable musical experience indeed!All the album has a mystic vibe,something misterious and catchy...I repeat...the only minor minus is it's timing...it could have been a little longer...around 50 would have been just perfect!But it's excellent this way too!The artwork is impressive too..an elegant digipack with a great artwork,trully fantastic!4.5 stars for me and congratulations to a band with a huge potentia and a great musical identity and visionl!

US band SONUS UMBRA originated some 20 years ago in Mexico, at first operating under the moniker Radio Silence, if I have understood their history correctly, but since sometime around the Millennium the band has been US based. Their first album under their current name was released back in 2000, and a further three have followed since. "Winter Soulstice" is the most recent of these and was released in 2013.

Sonus Umbra's fourth full length production "Winter Soulstice" is an album that isn't easy to place within a carefully defined context. There's elements of acoustic rock and progressive folk rock in here, alongside classic hard rock or hard prog elements as well as passages that arguably have more of a symphonic oriented expression. All elements are combined into carefully assembled compositions where subtle details and controlled nuances dominated to a much greater extent than the flamboyant and dramatic. Progressive rock for feinschmeckers if you like, an album to be enjoyed by those who love listening closely and with full attention to an album and find joy in discovering the finer details.

It's almost criminal to me the almost total lack of attention being given to the new album by Sonus Umbra. Easily the best album yet from this band, and I liked the other 3 but Winter Soulstice raises the bar big time , mainly because it is almost a totally different band , the exception being Luis Nassar who is the leader of this band and always was he is and has always been the principle songwriter and is also a fine bass player, getting to for the first time concentrate almost solely on playing bass whereas in the old formation he played a little bit of everything. Funnily enough as good as this album is, especially musically , the band now consists of 7 full time members (including the lead singer who I don't believe plays any instruments) and these guys bring it, Nassar has assembled an outstanding group of musicians. But back to the funnily enough part, it still sounds like a Sonus Umbra album, thanks to the lyrics that Luis writes. But this new band takes it to another level musically. For me this is one of the best albums I have heard in 2013 and I hope it gets the recognition that it deserves. And there is more good news , they are getting ready to go into the studio in January , 2014 to start recording the next one, I know I'll be looking forward to it.