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Review by Gary Hill

I put a previous set from this act under progressive rock. At the time I talked about how that wasn't a perfect fit, but it seemed the appropriate one. That holds true here, too. In a lot of ways this feels like a more electronic take on some of the symphonic folk prog of the 1970s. There are definite comparisons to be made to some of Kate Bush's work, too. The fact of the matter is, while this is tough to pin down and label, it's not difficult listening. This is effective mellow artsy music. There is a definite cinematic quality to it, along with plenty of artistry.

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Track by Track Review
Coming in sedate and electronic, there is a dream-like quality to the early segments here. This works out to more of a driving, art rock kind of jam from there.
I love the sort of layered, atmospheric dreamscape that starts this piece. Piano rises up to join and the cut moves forward in style. Then it drops to a classically styled backdrop and the angelic vocals come in over that backdrop. The cut gets more rocking after a time. That holds it for a while, but it drops back down again from there, but not quite as far as before. More of an electronic vibe drives it. 
In Memoriam
Coming in rather symphonic, the vocals come in over the top of that backdrop. The cut grows gradually from there. Organ rises up after a time, bringing a different texture with it. Percussion pounds in a while after that. This gets into more decidedly symphonic rocking territory further down the musical road.
Blueberry Sky
There is a cool piano element built into this thing. I like the meter of this piece. The cut is rather up-tempo but still manages to feel dreamy. This has such a lush beauty to it.
The sound of a needle hitting vinyl starts this cut. Piano rises up to guide it from there. I'm reminded of both Kate Bush and Tori Amos to some degrees as this moves slowly onward. I like the stand-up bass that joins later. This is a classy cut. It might be mellower, but it is powerful and quite pretty. The vinyl sound returns at the end.
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