IN SPACE AND TIME

Who could have predicted listening to this album that Dark Light hail from Bangalore India, as it sounds nothing remotely like visiting the Taj Mahal or watching a cricket test match with arch-rivals Pakistan? This impressive debut 32-minute EP has as a British modern prog sound as one could squeeze out of Anathema, Porcupine Tree or Pineapple Thief, a heady combination of Floydian soundscapes, melodic prog, some ambient passages as well as a contemporary alternative sound. Some may claim that there is nothing original on display here, but truth is that if that really is the case, the melodies better be beyond superlative, the singing hopefully convincing enough to avoid any further embarrassing commentary. I am proud to report that on those two fronts, I was impressed from the very get go. As one progresses towards the final track, the mood, atmosphere, and utter beauty of the melodic content seems to expand like a warm blanket of sonic comfort. All four tracks are constructed on well researched, carefully structured, and ear-catching choruses that sink deep into the very receptive nodes, due to Jose Xavier's flawless, accent less and ardently tortured voice, quite near Vince Cavanaugh (Anathema) in that he loves to hush and pant appropriately. Guitarist Mohammed Uvais has his Gilmourian fetish down pat when needed, while keyboardist And Pilakkat adds all kinds of synthesized ornamentations to the cinematographic depictions, both shine like diamonds on the 10-minute epic "Satellite".

"Planet Goodbye" serves to set the table as a perfect appetizer, illuminating the road ahead with the appropriate flair (flare?), rain drenched sonic effects introducing a sombre piano motif, as the sinuous voice clenches the microphone with a plea for some kind of liberation, a voice that can be a combination of Bryan Ferry, the afore mentioned Cavanaugh, Bruce Soord and Mark Hollis. Clanging guitar, ornate piano and an organic drum pulse keep the arrangement flowing towards an insistent main chorus that is utterly enchanting, sensitively charged, and impactful. Great opener, indeed.

The massive "Satellite" is as epic as can be, a typical Floydian like arrangement with a developing melody that packs a huge wallop, crowned by a celestial vocal that is off the charts, soaring high and mighty among the clouds, something one can sing along to without fear. A mid-section with jangly guitar flickers, voice effects, syncopated drum fills only serves to transition into a sleeker version of the arrangement, synthesized cascades in tow, a thrilling ride, finished off by a simmering Gilmourian solo, full of bent note beauty, sliding sexily along the fretboard like a devoted lover, extirpating every note as it was the very last one. A delicately thunderous achievement by all musicians.

The profoundly melancholic "Circles" has all the attributes to entrance any listener with its gorgeous theme, the spectral electronic mood is captivating and an emerging elevating chorus that is sheer genius, as Xavier soars to the highest elevations, supported by a corkscrew lead guitar that resonates beyond the stars. The way the hushed and delicate voice has also the ability to kick it up a few notches and hit some soaring heights with apparent ease is stunning.

Another highlight track is the final and the shortest one here, the culminating ecstasy of "Mountain Boy" is a joy to behold, an escalation of trilling guitar shreds, impassioned vocals that oozes class, then a transition into an upward trek of dizzying heights, bass pushing along the thrashing drums and insistent violin orchestrations

4.5 Shadowy Illuminations