THE FOX AND THE BIRD

'The Drought' wind and thud, disturbing, cinematic; Casey shows his raw voice on ambient choirs, the singular, vibrant guitar, reminding me of Riz d'Anyone; a piece between djenty power and romantic melancholy, catchy. 'The Fox and the Bird' follows, a fruity pop ballad eyeing the Corrs for their ethereal side flowing easily, with delicate piano and crystallized guitar. A Vollenweider harp bursts out in an entropic finale. 'The Raccoon (and The Myth)' continues, taking up the tune of the first romantic piece; acoustic guitar oozing with emotion with Casey with a delicate voice. 'The Journey' follows, the piano for the oppressive atmosphere; rise and riff taking, on an orchestral Dream Theater, the gushing guitar surfing the djent wave, the Olympian choir behind. 'The Snake' a cascading piece, the voice searching for itself, avant-garde, the aggressive pad hit, the wicked vague riff, on the edge of unbearable syncopation; The rapped vocal break, absolute punk metal prog; piano notes temper before the apoplectic finale with an intense sound.

'The Nightmare' and the spatial intro with the jerky electro beat; feeling of electric current, oriental trumpet, incisive riff, sampled orchestration tearing the strings of their violins, inventive and extraordinary, sticking the listener. The perfect disorienting, monster cinematic. 'The Falcon' returns with Casey on a soft and varied grunge acoustic, a few jazzy lines before the sudden surge; crimsonian break and fresh guitar beat, dirty jazz metal variation, of the Rudess of the sporty Dream Theater. The syncopated break brings richness to the thunderous, fresh, rhythmic sound; ideal for kicking out the aging prog straitjacket; the final heavy riff, heavy before 'The Dream' ambient clarinet interlude of an ethereal world that no longer exists.

'The Bear' and its explosive intro, hard Zappa, Leprous with Elizabeth coming to lend a strong voice, her voice becoming a growl. The orchestral parts look at Meer with more fury; the musical volcano fires from all sides; the piano in the distance oppresses, Anyone's guitar submerges, the growl pours out. One of the avant-garde titles, symbolizing an attack by a bestial bear. 'The Crocodile' with a riff from Holy Moses, death metal from the 80s; a bit of Megadeth; the machine gun is secured, the musical and syncopated destruction can begin: fury on all floors. Jazzy break with Cosey and his delicate piano; the drift on an eclectic and zeuhl Mars Volta, invasive voices, the madness is there. The bullets fly again; the nauseating and enjoyable finale. 'The Bird' acoustic guitar, siren vocals; the title emerging from the limbo of your cortex, a melodic prog interface before 'The Mountain' striking with its debauchery of progressive bullets; the violent riff, Elizabeth pouring out her brutal growl vocal. The threatening air, the flames syncopating from the guitar neck, licking the frozen listener. 'The Rain' solemn, ambient air of Oceansize, the minimalist piano on the air of a Sigur Ros; finale with the water recalling your sylvan walk, introspective.

Ok Goodnight is the sound of tomorrow; a complex range, stacks that scratch the depths of your brain. Thirteen varied chapters that deconstruct yesterday's prog metal to provide a modern sound. Originally on ProgCensor.