METAMORPHOSIS

"Dragonflies" sounds more prog metal than prog metal, we agree; a MAIDEN-style riff, then a modern phrasing between alternative and modern rock, on MARATON, soft LEPROUS, a few djent touches. "Cabin Fever" with a chopped riff, a conventional tune but a solo and a dynamic break which shows that there is more than just rock in there. "Nautilus" continues, a 10" space intro then it gets heavy; a growl voice sets the mood or wakes you up, it depends; djent tune for a while with a crystalline guitar solo, singular like the machine-gun finale, for the moment I doubt it.

"Go" has a prog metal feel reminiscent of RUSH on an instrumental level; a SQUIRE-style bass solo innovates this track before "The Choice" arrives on a short consensual ballad, mid-tempo and progressive interlude in itself, I find there an air of the APSARAS symphonic electronic group, it is for say. "Holy Water" continues, slightly hypnotic monolithic basic tune; it's much softer and pleasantly disturbing; vocal break, soft flute, latent atmosphere before a big riff, it gets interesting; the second break with a killer riff is far too short but makes you salivate.

"Parasite" the titles increase in duration, the sound is more worked, less easy to access as on this crescending metallic intro; a sound reminiscent of a muscular MUSE. It's varied at least; the final heavy rise after a trance riff is worth its weight; I feel parasitized, amazed, exhilarated; the best title. "Fading" wooden piano of the time, xylophone, strange dark intro, worthy of a Friday the 13th; watered-down ballad with predominantly plaintive instrumental; Einar's drums which seem to come out of your living room before the intro of "The Face of God" a flowing title à la 'Kashmir', yes we always find a tune that resembles; a heavy, djent, thunderous and bewitching rising tune; a soaring break suddenly sounds like VANGELIS from 'Blade Runner', the piano, hilarious, the voice flirting with that of Mercury and we think of a hidden QUEEN track, bluffing; the recovery continues in power, rise and final breathtaking.

"Sea Legs" now which makes me think of the structures of DREAM THEATER, minus the voice; the rhythmic guitar solo takes the listener far away; the heavy, nervous ending with Derek Sherinian-style keyboard solo before "Find Me Here" concludes this surprising and breathtaking album; melodic title, a little GENESIS-style flute to confuse even more. RING OF GYGES gives controlled metallic frenzy with a touch of melodic energy, progressive metal to travel in vast soundscapes, yes I read that; titles initially consensual melodic rock metal, progressive titles from the end of the first third which struck me positively.

A sound apart, unconventional pieces for an album that must be listened to from start to finish, giving its substantial metal-prog marrow over time.

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