ATOMIC SWAP

"Inuit" starts atmospheric, S-F, a neo-prog keyboard, Arjen at the controls, Ruud on vocals; its fat heavy prog metal, very fat, captivating and reminiscent of ARENA; Icelandic break for the Inuit voices, the progressive, solemn atmosphere, choirs of Olympus. The emphatic, grandiloquent restart with sampled trumpets, energetic rhythm and keyboard solo; aerial finale that rocks. "Baychimo" fat synth intro is the word, on COLLAGE with Genesisian hints, the rhythm guitar recalling SAGA. The riff on good energetic prog metal, ARAGON and KNIGHT AREA for the atmosphere; nostalgic, symphonic neo from yesteryear. Quick break with sonar then the keyboards come back, frenetic, hard rock with Martin on guitar; vocal choir of Laura and Coby for the phrased outro. "Stranger Within" and the arrival of witches, on "Harry Potter"; the keyboard in a cathartic wall, the latent atmosphere, the enjoyable progressive instrumental. The nervous and haunting guitar guides the air; the keyboards round off the metallic angles, very/too fat, pregnant. An acoustic arpeggio slows everything down, the time to hear Ruud whisper, between singing and phrasing. Solo guitar variation launching velvety, fluid keyboard notes, exploding from a musical crater in fusion. This plus these keyboards and the heavy tone of electric ARAGON "Mouse" period; seaside finale in aerial fade.

"Lost in Your Mind" with Laura vocal in basic air, highlighting her bewitching vocal power, reminiscent of Hayley GRIFFITHS. A mid-tempo on a latency with the melting Moog and the dreamlike crescendo; solemn final piano. "The Universe" begins the last short, calibrated titles, fast intro, easy chorus, so as not to waste time. A melodic AOR piece with the little progressive break on the synth. "Artificial Intelligence (Akili Ya Bandia)" contradicts me, five minutes of solemn, military intro; a title narrated more than sung, monolithic with another prog metal air, on the overboosted MYSTERY. "A Passage to Rapa Nui" same modus operandi, high-pitched vocal, Teutonic prog metal rhythm, with its hard rock solo, astonishing with the velvety keyboard behind. "Until Darkness Calls" bis repetita, consensual air, dated pop rock chorus, nostalgic, energetic but redundant, with Julian's keyboard filling the ears. The whispered voice disturbs or helps to go on this fruity S-F journey. "Watch the Crime (Do We Care?)" opens with a grandiloquent symphonic sound; piano in variation with the fat keyboard, the one that bewitched the ears during the 80s, the sound is affected. The theatrical voice smells of ICE; very rock pop. "Insomnia" in the end, a rhythmic instrumental piece with its Dantesque keyboard solo, twirling and vintage to the end of the synth keys.

TIMELOCK offers a neo-prog narrative album with a heavy rhythm, a softer THRESHOLD with a heavy guitar and invasive fat keyboards, PALLAS more nervous. Three great excellent titles followed by the other melodic ones lacking a little soul. A pleasant sound journey agreed. (3.5) Origin on Progcensor.

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