NEED

I mean to be honest if it wasn't because of the 20min track, this album would be 3.5 stars (although I would personally round it up to 4), but that epic is so amazing it feels like a crime for me to give it a four star rating.

Anyways the rest of the songs are still great. The opener is catchy (but not in a radio-friendly, commercial way), Alltribe is a surprisingly versatile track despite its length. Therianthrope is a very solid track that stays loyal to the Prog-Metal genre... Very strong stuff overall!

But again, the Title Track is the cherry at the top. Dynamic, melodic, beautiful, brutal at some points, reflective at some others... It has everything you could ask for a Prog-Metal epic.

4.5 stars, rounded up to five because of Hegaiamas. Highly recommended!

While it would be tempting to relate to their emergence as a much-needed break from the excesses of the hyper-technicality of the djent craze and prog metal's cross-pollination with death and metalcore influences, the music in question can hardly be considered a progression. For the most part, records like Need's Norchestration: A Song for the End, are exhausting rehashes of 2000's prog metal with a modern production shine. Can anybody really listen to this record and not find themselves wanting to return to Redemption, Seventh Wonder, or Circus Maximus?

The tragedy in Norchestration: A Song for the End is the sprinkling of forward-thinking ideas that are teased but never get their due. Take the brilliant, and probably controversial, track 'V.A.D.I.S.' for instance. The entire track is a spoken quasi-philosophical conversation between two thoughtful girlfriends that keeps the listener unsure of where the conversation is going at any minute. The conversation is presented with a masterful synth-based soundtrack, courtesy of keyboardist Anthony Hatzis, that expertly sets the mood for the conversation's ebb and flow. Frustratingly, the intrigue and tension of the dialogue on 'V.A.D.I.S.' are followed up with the overwrought prog-metal epic 'Norchestration,' a track essentially indifferentiable from the one that proceeded 'V.A.D.I.S.'

If prog metal is going to reinvigorate itself in the new decade, it needs real innovation, not conservative nostalgia. Norchestration: A Song for the End shows me that Need has the ability to do this. For some reason, they're choosing not to.

This is the 4th album of the Athenians who steadily gain pace after appearing in ProgPower a couple of years or so ago.

The acid prog metal sound of the band found in the previous album still makes its way in tracks such as ''Tilikum'', albeit in a smaller scale; this fact makes the album more digestible than its predecessor. Jon V's vocals range from melodic to acid-thrashy, their tone mostly resembling to Ray Alder but also not afraid of experimenting in Warrel Dane-like fashion. This is supported from the overall sound of Hegaiamas, which reveals its main influence in the face of Fates Warning; riffy, melodic, contemporary prog metal.

The album starts off with the two most accessible tunes and highlights, Rememory and Alltribe, a great way to get the listener interested in the rest. The heaviness increases with Therianthrope and Riverthane reaching its peak with Tilikum before dropping to a 5-minute narration of a dream / piano piece in the form of I.O.T.A.; although completely different than the rest, it's an interesting interlude in the ongoing bombardment of riffage. The ghost of Nevermore hangs over the heavier tunes, ensuring that no cheesiness is let through the door (I think I can hear some drop-D tunes here and there but don't hold me to this). The 20+ min. title track is solid proof that NEED can survive epic songs withoug losing the listener in the maze of riffs. Complex but not too much, heavy and melodic enough to keep the balance. The tunes on this song slightly resemble to "Memory Palace" of Between Buried and Me which brings a faint (and positive) smile to my face.

The selective appearance of Evergrey, Dream Theater and Pain of Salvation confirm that NEED have filtered and mastered their influences. Quality-wise, this sits up there with the best ever Greek prog-metal releases (e.g. Until Rain's Anthem to Creation). The production is pristine and flawless, the musicianship superb; narrations could be cut down a little. I suspect the next step is that they create something entirely of their own character. Until then, they will certainly be a fresh breath of modern quality prog metal.

4(-)

At the very least, I can tell you that Need plays a very subtle brand of progressive metal. It makes heavy use of both guitars and keyboards, though neither are emphasized in the mix as strongly as the distinct, even harrowing voice of lead singer Jon V. To call Need an 'atmospheric' band wouldn't do justice to the active, skilled, and engaging instrumental performances, but man do they know how to set a mood.

Such understatement pays off though, and the sound of the album is thoroughly unique. I'm not sure I'd associate it with the newer post-progressive metal movement, because while there is a big emphasis on music textures and unique sounds, the guitars are still primarily melodic. If I were to hazard a comparison, and a loose one at best, I would draw a line to Votum's Harvest Moon from 2013, except that the ethos throughout the album is much colder, and, as reflected in the album's striking artwork, empty in such a way that evokes a strange sort of beauty.

To properly call attention to the? remarkable success of this record, I draw your attention to the penultimate track: "Hotel Oniro". This track is almost entirely spoken word, and quite musically sparse. This is typically an automatic skip for me. I've got a well-publicized hatred of voice-overs in prog, but the conversation of "Hotel Oniro" is both terribly sad and remarkably poignant. It's a perfect snapshot of the emotional resonance that reverberates through the whole album. Bravo Need, you've accomplished what I've often called next to impossible.

However, while the band does pull off, in masterful fashion, the ever-challenging 'voiceover track', it's not universally successful in its mission. The final track, the 18 minute title track "Orvam", catapults the listener into a world of absolute despair. Digging deep to the point of release and achieving peace. The musical transition is startling, and the lyrical shift satisfying. So, when, after a lengthy instrumental, the song returns to the dramatic refrain ridden with despair, I'm left confused. It's a small knock on an otherwise remarkable journey, but on top of the already sparse collection of melodies populating the back half of the song, it ends the album on something of an underwhelming note.

That being said, while the journey isn't perfect, there are some absolutely jaw dropping stops along the way. Both the opener "Lifeknot" and "Mother Madness" do an admirable job of intersecting the album's personal atmosphere with some really awesome melodies. In the case of "Mother Madness", this even approaches catchy. Orvam: A Song For Home is thoroughly refreshing. Not being able to easily compare it to a lot of contemporary progressive metal is actually a really nice reprieve, especially because Need executes so well.

4.25 // 5

Originally posted at www.blackwindmetal.com

Five years have passed since their second album ''Siamese God'' and the Athenians strike back, at last. I don't know why it took them so long but I'm certain that in the meantime they worked really hard. You see, though their previous efforts were really good albums, ''Orvam'' expands their horizons (and ours too), achieving something that you don't find easily nowadays: personal sound. There is a scent of freshness coming out from Orvam's every note, something that words can't capture. It's the band's energy, passion, creativity and love for art.

It's not difficult to guess some of their influences. My ears realize music inspired by Metallica-oriented riffs, Pantera grooves, new rock/alternative elements, a prog touch from Seattle (Nevermore/Queensryche, is it because of Neil Kernon's magic mix?) and Pain of Salvation's dramatic melodies. But, if there is only one band with somehow similar attitude, this would be Psychotic Waltz. I think that Need are really influenced by P.W, not in sound but in mentality. As I already said, all of the above are mixed in Need's special, unique blend. Heaviness, melody, technicality and intellectuality are served in the right portions and everything is in balance. Obviously, it's the band's impressive songwriting skills we have to thank. The songs range from 3 to 18 minutes but nothing tired or bored me, they are 7 small, perfect circles of music.

Hats off to the musicians: K.K & Pete are Need's new members and oh, what a delightful first presence this is! Their rhythmic section is performed with crystal precision and ever- pounding power, these guys are skillful and unrestrained. (I especially liked the way Pete plays his cymbals.) Anthony Hatzis' keyboard work is responsible for some of Orvam's most interesting shades. Classic prog sounds, soft jazz passages, a bit of classical music, inspirations from Manos Chatzidakes and, yes, a short glimpse of Kevin Moore's ghost! Ravaya, the band's mastermind and original member, stands as first among equals. The riffs he creates are so well balanced between straight grooves and complexity that he almost left me wondering. At least four riffs of the album (the basic ones in Lifeknot, Symmetrape, Mother Madness and Orvam) are amongst the best I've heard in metal music in recent years, probably since Machine Head's ''The Blackening''. I saved Jon V. for last. During the first listen, his rough voice did not appeal that much to me. It took me a while to realize that this guy has a wonderful range and that his performances are overflowing with energy, being always part of the music. Some minor issues with his accent (a common problem of all Greek singers) but no big deal really. No one in Need has the vanity to try and step out of the team, the band plays as a single entity.

'and the 59 minutes of Orvam flow sweetly as a cool river in a hot day! ''Lifeknot'' kicks off the album with a short electronic loop and when the first titan riff steps in, attention is perfectly caught. The verse sounds almost like hard rock but the Queensryche-like bridge reminds us that we stand in prog territory. There's a wonderful piano in the middle of the song, a thrashy storming part and an excellent emotional outburst before the song is through. ''Entheogen'' begins surprisingly with a traditional greek scale and retains an ethnic and spiritual character throughout its 10 minutes. There's a very special feeling in this track, featuring technical leads, female vocals, polyphonic innovating vocal lines, major mood and a very soulful climax. ''Symmetrape'' is next and'what a riff! Strangely structured song, many sounds will caress your ears: melancholic chorus, heavy pianos, dark and jazzy parts, weird solos, growling vocals for a moment and an unexpected, brilliant ending. The intro of ''Mother Madness'' is melodic and wonderful, leading to an unbelievable riff, an instant classic for me. The song evolves into a Nevermore inspired maze, highlighted by the jamming part in the middle and the magnificent, passionate performance of Jon. ''Construct'' is probably the album's heaviest track, up tempo and dynamic but if you listen closely it's the keys that provide the song's special character, depth and color. ''Hotel Oniro'' is more like an interlude, an atmospheric piece of music serving as the background of a sad but beautiful dialogue (European filmmakers came to my mind listening to this). It also sets the stage for the 18 minutes long album title track ''Orvam'', which in my opinion is not only the album's highlight but an outstanding moment of contemporary progressive metal in general. It has a very epic opening with traditional scales again, flowing keys, bells etc., bringing to mind the epic moments of Rush. The song is normal until its 5th minute and then there's a fantastic, tension-building improvisation part with a dramatic turn. At some time, things go major and technical, reminding of Rush again and a bit of Townsend's Terria, leading to a majestic end. I won't spoil the 2 minutes of the outro; you have to discover it yourselves. My only comment is that the actor Akilis Karazisis' voice (not the first time to collaborate with Need) is the proof that the human soul has one, universal language. Feel it. Ravaya's words are breathtaking and that piano will haunt you' (Guys, why don't you release a whole album like this?)

Last but not least. Need's lyrics are simply beautiful. There is a political, philosophical and artistic essence inside these words. Dive into the band's concept and you will be rewarded. For your information, the word Orvam is ''Mavro'' written backwards, meaning ''Black''.

If the prog world is fair, Need will gain a wider recognition after this one. In my opinion, they have what it takes to succeed further, artistically and commercially. They have the talent, the passion and the guts and my sixth sense says that they're heading for their masterpiece. If you like uncompromising modern prog metal, give this a try. It will grow inside you. To those fortunate who will attend ProgPower 2014, give Need a warm welcome. Well done to Need and please, don't let us wait another five years! 86/100. 4 black stars.