This album, for me, sums up exactly what progressive music should be all about. It is a wonderfully melodic, beautifully constructed and altogether a musically proficient piece of work. In fact, for me, a slice of progressive rock perfection I would even go further and say that it is the ultimate embodiment of this genera of music with every single track packed to the brim with multi-layered instrumental arrangements, countless variations in time signature and strikingly clear and precise vocal deliveries.
Okay, I know that some people might say that for them it lacks a certain modernistic progressive rock ideal because the arrangements are totally devoid of any heavy metal riffing infusions. But that is no loss, so far as this glorious symphonic undertaking is concerned. The sheer expense of ideas, musical configurations and instrumental arrangements which are incorporated on this project are quite breathtaking. Furthermore, there is an enchanting overabundance of variation and musical diversity throughout each of the eight tracks. This is complemented with an inundation of fresh ideas throughout the entire alum which results in each track being totally unique and diverse from the rest of the album.
The frequent fluctuations of the interplay between the various lead instruments are quite magical and absorbing. The instrumental audio layering and the fascinating way that the sequences of sound projection are changed around with so many instruments coming and going and taking their turns to come to the fore.
This is certainly an album for which you could never tire, there is so much industry, excitement, artistry and craftwork incorporated into the mix that it will never grow old in your collection.
There are some sound similarities that I detected with other bands such as ‘Supertramp’ and ‘Jethro Tull’ but only in fleeting moments and probably more related to the vocals than anything else. But from a musical perspective, just about every conceivable musical element features somewhere in the mix. Even incorporated is a glorious gospel choir used to embellish and enhance the sound delivery on the first track which without a doubt was an inspired brainwave. Also featuring many jazz styled and mostly piano-led passages the resultant album is album is a delight to behold.
Summary: An album packed to the brim with beautifully constructed neo progressive delights.
Artwork: Nicely packaged and informative
Extracted Comments from The Internet: Damanek's Guy Manning told Prog. "Big themes focussed on people, change, spiritual embodiment, remembrance, cultural shifts and above all, narrative stories. To that end, we wanted the album to sound huge in places and it really does!"
Manning is joined by Australian keyboard player Sean Timms (also of Southern Empire), German saxophonist Marek Arnold and British bassist Dan Mash on the new record. Guest musicians include Mash's Maschine cohort Luke Machin on guitar and Timm's Southern Empire colleague Brody Green on drums.
"The cast list for the album is similar (but reduced as compared) to the On Track players," explains Manning. "We did manage the inclusion of a lovely violin section from Raf Azaria (United Prog Fraternity) and also to feature a Gospel choir - they sound fantastic and help to promote that sense of that ‘spiritual journey/content’