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| Progressive Rock CD Reviews |
| Track by Track Review
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Intro: Dawn of the Black Sun
Weird space music is combined with classical and Rock In Opposition styled stuff here. Violin is a driving factor as percussion and other elements create the backdrop and some definite tension and movement. This instrumental serves as a weird introduction to the next piece. |
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Prelude: The Oregon Trail Crow Invasion Incident
Jazz, fusion and King Crimson-like progressive rock brings this one into being. This is pretty crazed and also quite cool. |
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Two Eyes for an Eye: Dr. Kunto's Demise
A bit more melodic and controlled (at least most of the time), the King Crimson styled prog is all over this number, too. It works through some intriguing shifts and changes and gets more RIO-like at times. There are some processed spoken vocals here over the top of some particularly hard-edged and driving stuff. |
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Zjeto's Ascension
Intense driving fusion like sounds are merged with bits of space rock as this opens. More of those processed spoken vocals are heard on this cut. They are a bit further back in the arrangement, though. While everyone here really stomps on this tune, the piano in particular seems to shine. Around the three and a half minute mark a King Crimson like dramatic movement creates almost a sense of ending. The cut moves out from there in mellower fashion for a short time before powering out into some particularly dark and crazed freeform prog. That section serves to take it to the ending. However, the cut is actually closed by some particularly ambient music along with some sound effects. |
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Millennial Awakening. Maybe.
This opens with some weird, heavily distorted and processed speaking. They power things out from there to a fusion meets King Crimson movement. As that ends it turns more toward RIO with a segment that even feels a little thrashy. There are definitely valid comparisons to make to Djam Karet here. This thing is over seven minutes in length. Good use is made of all that space, as this is incredibly dynamic. It works through so many different shifts and changes. |
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Above the Law, Pt. 1
This is an intense cut that is rather space rock like. The spoken lyrics on this include a narrative about law enforcement seizing people's assets. This is rather cinematic and intriguing. It's less powerful than some of the rest, but no less dramatic. |
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Preach to Deaf Ears, Pt. 1
This is essentially church organ music. It's just about thirty seconds long. |
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Preach to Deaf Ears, Pt. 2
Faster paced organ music starts this, but the cut quickly turns out to fast paced King Crimson meets fusion styled jamming. This is intense and downright mean. This thing works through a number of major changes as it continues. It has a lot of flavors and different movements. At times it feels quite freeform. |
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Gwydion's Escape
This comes in more melodic and sedate. It gets some seriously bombastic hard-edged stuff for a time later in the cut, though. It has some really trippy, echoey stuff built into it further down the musical road, too. This is another cut that begs comparisons to Djam Karet. It gets louder and more intense later in the piece. This is another that's particularly dynamic and changing. |
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33 Thomas
Tonal elements a bit like a satellite signal start this. The cut works out from there into a jam that's quite fusion oriented and a bit on the weird side. This another dynamic cut. It's one that feels a bit freeform and definitely lands in RIO-like territory. |
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Above the Law, Pt. 2
Just over a minute long, this is dark and suitably weird. |
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Coda: Kunto's Qi
Somehow this two minute piece has a sense of drama and anticipation that makes me think of an Old West shoot-out scene. |
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Outro: Sanctuary
Intense cinematic and a bit strange, this is a fitting closer to the set. |
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