CALIBRATED COLLISION COURSE

A forerunner album I'd say. Perhaps the most interesting, innovative and shocking prog album of the 21st century until now. It breaks not only rules, laws and traditions of neo-prog but also of prog in toto. It does not meet the requirements and standards as of 1970s' so of 2000s' prog, and it's difficult to say if Calibrated Collision Course is far below or far above those standards, so unusual it is and so irregularly it sounds. All that the album consists of is made wrong. Every moment, every feature seems erratic. Something similar to hard prog in Blind Hostage - but it's a wrong hard prog. Something reminding fusion or even blues in Leap Of Faith - but it's a wrong fusion. Something... no idea what exactly, something unfamiliar but intuitively erratic in Calorie Street. Some jazzy moments in a few tracks - but again, no one should compose and play jazz prog in such a manner, it's a derivative jazz prog. A wrong, distorted quotation from The Who's Tommy in Press? Sure!. And finally - a wrong epic. Every next bar in 20-minute As Big As Bang is unexpected, and if it brings no discomfort, that's just because every bar is full of strange beauty. Of something that may be called harmony of chaos. The entire album is one big Zone Of High Risk. The risking one is of course Jesus Filardi who, as a composer, explores the areas where no musician ever invaded before. Some people say that probably it would be better if those areas still remained never invaded. Some call Calibrated Collision Course chaotic and unpleasant for ears. I don't try to dispute with those people, this all is very individual. But when I first listened to the album, I was permanently thrilled to solve this 58-minute musical charade. And now, after 9 years, the charade still remains a charade and its solution is every time new. If the 4th album from Galadriel is not an embryo of some new paradigm for prog music, then it is at least a one-time marvel.