THE THIRD SLEEP

OAK, a dynamic and melancholic sound reminiscent of RIVERSIDE, PORCUPINE TREE, OSI, and ANATHEMA on the one hand, with the major psychedelic wanderings of AIRBAG and GAZPACHO on the other. Symphonic and neo- dark metal with soft, atmospheric, hypnotic rhythms bordering on pop from TEARS FOR FEARS and TALK TALK, heavy wanderings from ULVER and MASSIVE ATTACK, and finally, classy cinematics from CHOPIN, BACH, HORNER, and WILLIAMS.

"No Such Thing (Place)" kicks off with a crossover to anchor itself, an ethereal, alternative, and icy pop tune, a captivating melody with a melancholic trumpet, syncopated drum beats, and distant piano, like those NASA voiceovers. A hint of clarinet to stroll through a decidedly bucolic atmosphere. "London" and its electric reverberation, a purely Wilsonian feel in the writing; cold, cinematic rock, leaning towards the 80s for its dark wave and progressive spirit. Reminiscences of ANTIMATTER for its languorous side. "Run Into the Sun" delves even deeper into this coldness with a drift of piano and rock guitar, polyrhythms between the vocals and the instrumentation, a sound reminiscent of OPETH's progressive experiments drifting between progressive and melancholy. A bit of PINK FLOYD or even DREAM THEATER from their album 'Systematic Chaos'. "Shimmer" is a nod to the first album 'Stars Under Water', with the captivating, melancholic ostinato enhanced by traditional instruments, amplifying the austere, icy folk spirit that emanates from it. A sparkling, gloomy sound that ends with a new age coda and the captivating chorus.

"Shapeshifter" with the drum giving a little more intensity to the basic piano and Simen's desperate vocals. Electric piano for the break, rolling pads, the weighted intensity swells with a stereo effect like in the good old days. The guitar flirts a few notes with that of PINK FLOYD, ANATHEMA, bands inscribed in memories today. The final solo is almost heavy, violent, on another dreamlike coda with the haunting keyboard. "Borders" amplifies the basic sounds letting the guitar sound develop until then in the background, the air forming an osmosis between SOEN, KATATONIA, ANTIMATTER. A beautiful dark spleen rise on a languorous keyboard of time and an intimate fade before the nervous guitar riff tumbling on "Sensory Overload" with again this expressive martial pad; reminiscences of Steven WILSON for this confrontation sweetness and violence. This vocal romanticism with orchestral deluge, latent is truly captivating. The derivation seems simple, basic, and demonstrates a modern progressive exploration with the introduction of a hysterical sax followed by distant screamed vocals. The atmosphere builds to a final, explosive, Opethian growl, conducive to apoplectic trance. Originally on Profilprog.(4.5)

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