THE VEIL IS BROKEN IV: DECAY

A few weeks ago Rodrigo San Martín released the last section of his multi release rock opera The Veil is Broken. Section four, titled "Decay", ends the story of failed fictional prog rocker Robin and his turn to the dark side: commercial music. He became an international superstar but payed the price too heavily and here we have an explicit description of his descent into oblivion.

The music and performances are top notch, like the rest of the Rock Opera, and the depressive feeling we are left is heartbreaking. It's a tragedy, there was no other way.

Stylistically this is a very diverse offering: from typical rock, to acoustic ballads, funky sections and symphonic metal tracks, all mixed together in the typical progressive style of Maestro San Martín.

1 - Lost: we start with a familiar feeling. This is the most "Rodrigo San Martín" sounding track on the album, genrewise. It's a short song (under 3 minutes), but features many elements that characterize the artist tyícal "sound": strong vocal melodies, nice motif development (from themes that appeared on the previous parts of this rock opera), great instrumental work (featuring electric guitar and a nice mellotron section), incisive lyrics and a contrast between soft and powerful sections. So many elements (this time compressed in under 3 minutes) make a great opener for this last part of The Veil is Broken.

2 - On the Road: at the end of The Veil is Broken III: Coming of Age we were left on the point where, Robin (our prog rocker protagonist) sold himself to the machine and became a pop sensation. Here we have a direct continuation of that: the lyrics tell us how immensly rich and famous he has became, how his insane life on the road is, what he has done with his fortune, etc

How is this topic presented musically? By a typical Arena rock song, with pre recorded crowd and drum solo included included, to simulate a live performance.

It's something completely different from anything we've heard on a Rodrigo San Martín album and it's actually quite good, if you have an open mind and want some diversity in your prog rock.

The lyrics also reveal that Robin is really unhappy and "empty inside" now that he has fulfilled his dreams of stardom.

3 - Summer: this is a beatiful acoustic piece with some very sad lyrics that deepen the existencial crisis our protagonist is in. It's curious the selection of Craig Kerley on vocals here, since he is prominently known for his powerful heavy metal vocals, but the result is fantastic.

The instrumental pallete is minimal: acoustic guitar, bass, flute and some tasteful mellotron.

4 - There's No Way Out: this is basically a Nightwish song on a Rodrigo San Martín album. Lyrical vocals are masterfully done by Canela Sol once more (like she did on Incomplete), with Charlie Giardina singing the chorus.

It is powerful, melodic, heavy and features stellar instrumentation. And it's not something you would expect on a Rodrigo San Martín album once again.

5 - Meant to Be: another small little acoustic ballad, this time sung by Giardina (and with beatiful backing vocals by Canela Sol on the chorus). Not prog by a million years. The lyrics start getting more upbeat on this one: it seems our protagonist has reconected with his lost love from his teenange years.

It may be a little bit too much on the cheesy-happy side for my taste, but on the depressive level the last few tracks were carrying this one feels like a cup of water on the desert.

6 - Unleashed: and things went badly for Robin once more. This one is almost a direct reprise from the "part 1" track Lost Out. It features piano much more prominently and features a killer solo from Mr. San Martín. Nice way to recall more familiar grounds, that immense chorus needed some exposure! (it couldn't just appear once on the whole album)

7 - Like There's No Tomorrow: this is a weird one. Is it some funk/heavy prog song? Is that even a thing?

Influences on this track appear to be Red Hot Chili Peppers, Jethro Tull, Metallica and Pink Floyd, all mixed together.

It's very good and it's the most progressive track on section 4: great work by drummer Mike Buenaventura Lima and amazing vocal performance by Osvaldo Mellace.

8 - Time to Realize You'll Never Open Your Eyes: the album closes with a small acoustic piece featuring both male a female singers. It's astonishingly sad and beautiful, but a little underwhelming considering it's the ending to a 2 hour long piece of conceptual prog rock.

I signed up on this site to review this immense conceptual work Rodrigo San Martin promised us. I've reviewed the four sections that comprise the rock opera but I feel my work is not complete.

Rodrigo San Martín messed up: he should've released the whole thing as a whole, it's clear he composed it to be one two hour long piece of music (and if you add that the album was written to be played in random and have all the songs segue into each other in every possible order, more so).

I rate this last section four stars, but I think the four parts considered as a whole album, are undounteldly one of Argentina's finest prog offerings of the 21st century.