NOSTRADAMUS

In 2007 the rhythm-section of the legendary Hungarian progrock band Solaris founded Solaris Fusion and released the mini-CD Mystica (2 compositions). In 2008 this Hungarian formation changed their name into Nostradamus with almost the same line-up (only a new flute player) but another musical direction, I would like to describe it as a Heavy Prog version of Solaris. On this album (from 2008) it's obvious that most musicians are classically trained, the interplay is awesome and especially the compositorial skills of keyboardplayer Valeria Barcsik are great. This turns listening to Testament into a captivating musical experience.

I am excited about the tension between the heavy sound (powerful rhythm-section, propulsive guitar riffs and harder-edged guitar) and the sparkling flute and sumptuous keyboards, it sounds like 'classical meets progmetal', great! My favourite moments on this CD.

Solarissimo: bombastic and dynamic with swirling flute, fat synthesizer flights and sensitive electric guitar runs (the Spanish undertones are strong).

Divine Comedy: between Heavy Prog and progmetal with fiery guitar, sparkling flute and orchestral keyboards.

The enervating and dynamic title track: omnipresent flute work, warm Grand piano, propulsive guitar riffs, a strong organ solo and excellent interplay.

A beautiful build-up in Emotion: from dreamy with twanging guitar to a compelling grand finale with howling guitar.

And warm interplay between classical flute and acoustic guitar in Secret In Hand.

A bit of a maverick is the short song African Cotton Typesetters In Ireland that blends African singing and Irish folk instruments, very special! The bonustrack My Emotion is a strong conclusion, it starts mellow with dreamy vocals and soaring keyboards and ends bombastic with howling electric guitar.

This is a stunning debut CD from this Hungarian formation, how cynical that Testament turned out to be their only album.

"Solarissimo" immediately showcases Valeria's mastery of keyboards, leading the flute propeller charge on a merry dance of bluster and bravado with Kaptalan's brash guitar and the ultra-solid double-bass drum attack filling the foundation with slabs of metallic splendor. Bombastic, majestic and devastating.

"Troy" shows no sonic remorse, driving the Greek legend soundtrack with Herculean vigor, showing no Achilles heel in its Trojan horse maneuvers; only the flute shows any kind of gentility.

"Shadow in the Rain" is a transcendent example of symphonic prog drenched in melancholia, a spiraling lead flute, trembling piano and valiant guitar combining mightily, rhythm section in tow. This is a welcome humid contrast to the previous sonic depth- charging, a gorgeous melody that seeps deep into the soul.

"Divine Comedy" presents a musical adaptation of Dante's literary work, complete with howling string synthesizers, rabidly thrashing metalloid guitar and pungent flute flickers. The bass and drum section is fast, funky and phenomenal.

A forlorn bass announces the desolate "This Is Not the Day of your Death", a brooding flute interlaces with bubbling electronica and echo-laden percussive to create a funeral march of disturbance and reflection.

A forlorn organ announces the delicate "Children's Kingdom", a sly intro that explodes into another booming manifesto, the organ remaining on the table, servicing the flute and guitar perfectly. The orchestrations certainly are grandiose with the heavy-metal drumming cresting the score. "Run of the World" lets loose once again with the same formula, a strong lead flute melody of almost classical nurturing, turbocharged drumming that chooses to kick the mood hard in the behind.

The magnificent and epic 14 minute title track is the resounding showstopper, again shepherded by Földesi's thrilling flute, dancing over some scintillating polyrhythmic drum rolls and fluid bass rumbles, while the understated electric guitar on one hand and organ, piano and synth on the other snake in occasional flashing runs. Palpitating inspiration, captivating drive and fascinating energy keep this colossal piece huffing and puffing to the end, a lovely respite, with waltzing wind and slick propellant aiding and abetting in the grandiose scheme of things. Gorgeously symphonic! More please!

"African Cotton Typesetters in Ireland" (whatever that means) is short and worldly, completely forgettable .

The flow does not dissipate towards the finale as "Emotion" and "Mystica" are both stellar symphonic tracks that burnish willingly. The first displays a serene disposition, as suggested by its implacable title, full of epidermal swoon and majestic spray. The feel is cinematographic with resonating guitar slashes amid the sad flute figurine and when András decides to solo, he really gives it a tortured caress that carries the weight of pain heavily. The second is, again as its name may imply, a spiritual adventure that is ferociously enthralling, complex rhythms colliding with extreme contrasts that hint evocatively at Led Zeppelin's "Kashmir" in spirit only , though the drums do have a Bonham- like thump.

"Secret in Hand" is highly orchestral, suddenly offering a sorrowful vocal in the finest Hungarian folk tradition, deeply intense and goose-bumpy. The metamorphosis into a flute and acoustic guitar duet is simply splendid.

Bonus track "My Emotion" is a variant that incorporates Valeria's thin but expressive voice (in English, please!), a completely different experience that contrasts with the previous material, very interesting in terms of adding a different twist to their style.

I hope we hear more from this excellent group of accomplished musicians while Solaris is on a sabbatical. A must for fans of the Hungarian stalwart but also harder sympho bands like Ayreon will flock to this debut with gusto. Great highway driving music BTW!

4.5 Ominous magyar wills