TIME MUST HAVE A STOP

1. Me in the Dark begins with a latent, melancholic prog metal sound, then the rhythm shifts to syncopated prog metal, a forward riff, a bit like FATES WARNING, a memory; it's dark, it's machine-gunning, it's unique, 18 years ago; it's catchy, and the piano break with its electro drums is a little more melancholic. 2. The Pun continues with a sharp riff and plaintive guitar, a tormented air of RIVERSIDE, but darker, of melodic metal bands from the 90s. The vocals can be irritating, but the final riff, like 12-7 with the pedal, puts everyone under cover. 3. Passing Sears intro with a doom-like pad, a nasty riff, a distant oriental air, and then a bizarre break that aborts even faster. An easy-to-listen track, like a litany, somewhere between Arabian Nights in the style of Orphaned Land and alternative trance with the distant electro keyboard and dark doom vocals à la My Dying Bride; a beautiful sound. 4. Train Back Home arrives, a plaintive southern ballad, a melancholic air with its heavy, heavy pad and slide guitar à la Marillion; a spatial electric piano break that brings the sound to a relaxing atmosphere with its haunting atmospheric variation.

5. The Hunt Is On: an acoustic guitar arpeggio leading to a laid-back riff, then the sound takes off on a bucolic musical adventure of frozen lunar lands, the surrounding sound reverberating, the drums coming and swelling, setting off on a rogue wave, the strobing guitar distilling its notes. 6. Away: a piano arpeggio announcing the contemplative ballad, soft jazzy-rock drums with its acoustic guitar; the highlight will be the haunting guitar solo, à la Piotr of Riverside. A solo that swells, starting from prog metal and ending in slowly melting prog metal, excellent. 7. Look at Me Now is the track that grabs me the least, due to the growling vocal that creates discord; the atmosphere is nervous, and still very oriental with the typical choruses; the break makes me jump and change my mind: the progression is there, captivating pads and guitar riff, it cuts and hypnotizes; a finale that repeats the clichés. 8. Time Must Have a Stop for the eponymous track, a simply divine piano arpeggio, simple but magnified by the Mick POINTER-style drums, the ones that swirl; a metronomic hit with Aleksander or Adam on guitars, in short, 2'30 of aggressive intro to set the place on fire; the vocal reminds me of QUEENSRYCHE. Melodic title, tonic without too much variation until the ambient melodic break with the hypnotic stereo pad, break between prog and metal with the hard riff laid as a base; a solo which pulls on the strings, which makes the ears go in and the finale already intervenes with the omnipresent riff and its spleen, haunting guitar, this will be the word of this review... dripping, a perfect album in the genre. OMNI.

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