Deathanity CD Reviews UPDATED 4 August 2008

[OdinsCourt]

Rough composite of 3 online translators for French...


Progressive Area (no rating given), translated from French:

I guess that with such a name, you expect, like me, yet another group of Scandinavian metal. Well, not at all. ODIN'S COURT comes from the USA and more precisely Maryland. This group already presents a relatively discography provided, since "Deathanity" is already their third LP after "Driven By Fate" released in 2003 and "Redriven By Fate" in 2006.

The group presents progressive metal in line with DREAM THEATER, RUSH, decorated influences, sometimes metal from METALICA, sometimes with U.S. rock JOURNEY and BOSTON without forgetting groups on this side of the Atlantic (QUEEN, PINK FLOYD). In any case, their music has caught the ear of a well known U.S. label, known to our friends as "ProgRock Records".

"Deathanity" is an ambitious album, which translates itself in environment as a concept album, one that is well deserved by ambitions…

The theme is based on the effects of human activity on our planet, a vast topic, such that a triple album would not even be enough. Each title deals with a different theme, as the introduction track "Terracide" sufficiently clarifies. Here we're in the musical universe of a DREAM THEATER, as if they offered us a sequel to "Scene From Memory". From my small fingers it takes more than compliment the team. With "Volatilestial" it changes less from prog metal, we are here more in the U.S. rock tinged atmosphere metal. If the lead vocal lacks a bit of temperament, the support of guests brings the peel of diversity that makes you swallow your first impression Matt BROOKINS appears, on the other hand, definitely more convincing with the guitar, equally at ease in technical passages, acoustic, and melancholy.

The 12 tracks on this album rarely bring boredom, I even enjoyed the variety of approaches, the compositions are not locked in a straitjacket; of course one will be able to reproach a defect of originality and some plans, but everyone should find good in the account here..

"Manifest Destiny" sends its batch of wood well. My favorite will go to "Animaulic" for opposite moods and "Vastificant", the short song which closes the album with Spanish guitar and a saxophone. On the other hand, I was much less allured by the adaptation of the dispensable "Ode to Joy".

In conclusion ODIN'S COURT has managed success with the "concept album".

Original in French:

J'imagine qu'avec un nom pareil, vous vous attendiez, comme moi, à un énième groupe de métal scandinave. Et bien pas du tout ODIN'S COURT nous vient des USA et du Maryland plus précisément. Ce groupe présente déjà un passé discographique relativement fourni, puisque "Deathanity" constitue déjà leur troisième LP après "Driven By Fate" sorti en 2003 et "Redriven By Fate" en 2006.

Le groupe présente un métal progressif dans la lignée de DREAM THEATER, RUSH, agrémenté d'influences, tantôt metalliques issues de METALICA, tantôt rock US avec BOSTON et JOURNEY sans pour autant oublier des groupes de ce côté ci de l'Atlantique (QUEEN, PINK FLOYD). En tout cas leur musique a chatoyé l'oreille du label US bien connu de nos amis progueux à savoir "ProgRock Records".

"Deathanity" se veut un album ambitieux, qui se traduit dans le milieu par un concept album, ben quoi on a l'ambition qu'on mérite...

Le thème développé est basé sur les effets de l'action humaine sur notre planète, vaste programme, un triple album n'aurait même pas suffi. Chaque titre aborde un thème different comme le titre d'introduction "Terracide" suffisamment explicite. Côté musique nous voilà dans l'univers musical d'un DREAM THEATER, comme si ces derniers nous proposaient une suite à "Scene From Memory". De mes petits doigts cela tient plus du compliment que du dénigrement. Changement avec "Volatilestial" moins typé prog métal, nous sommes ici plus dans le rock US empreint d'ambiances métal. Si le lead vocal manque un peu de tempérament, le soutien du guest apporte le zeste de diversité qui vous fera avaler la première impression. Matt BROOKINS apparaît par contre nettement plus convaincant à la guitare, à l'aise aussi bien dans les pasages techniques, acoustiques, que mélancoliques.

Les 12 titres de cet album apportent rarement de l'ennui, j'ai même bien aimé la variété des approches, les compositions n'apparaissent pas enfermées dans un carcan, bien sûr on pourra reprocher un défaut d'originalité et quelques plans caricaturaux, mais bon tout le monde devrait y retrouver son compte.

"Manifest Destiny" envoie bien son lot de bois. Mes préférés iront à "Animaulic" aux ambiances opposées et "Vastificant" titre court qui clôt l'album avec sa guitare hispanisante et une intervention du saxophone. Par contre j'ai été nettement moins séduit par l'adaptation de "l'ôde à la joie", titre dispensable .

En conclusion ODIN'S COURT a réussi son passage au "concept album".

[OdinsCourt]

Rough composite of 3 online translators for Italian...


Hard Sounds (70 out of 100), translated from Italian:

Odin' s Court is a band prog metal of the Maryland, initially created by Matt Brookins in 2001. Since then last seven years past and we are at the disk number two, seen here at present as 'Deathanity', the follow up to 'Driven By Fate' which débuted in 2003.

The American quintet offers in Prog Metal stereo a full range of influences, of whom the three main ones are Dream Theater, OSI, and Chroma Key. In addition, the tracks where the two guest vocalists Tom Englund (Evergrey) and Tony Kakko (Sounded Arctica) sing seem specially to remember the listener of the two large band where they belong, rather than to introduce the two great artists in new contexts and stimulants.

For the remainder 'Deathanity' is a good album, which does not reserve to the listener nothing especially new and exciting, but that however puts on a good show of quality of songwriting and excellent individuality. The boys of the Maryland effort does not attempt to dare more, trying to give greater freshness or making songs at the same techniques easily assimilated.

The production is very good, as well as the recording and mixing. Also I remark about the beauty of the cover, even in its simplicity. Ultimately Odin' s Court created a good product, that will not make changes to the balances of the world of the music, but that could result interesting for the avid progster. Readers are requested to visit the site of the band to draw more information.

FOR THE FANS OF Dream Theater - OSI - Chroma Key

Good but not exceptional.

Original in Italian:

Gli Odin's Court sono una band prog metal del Maryland, inizialmente creata da Matt Brookins nel 2001. Da allora son passati sette anni e siamo al disco numero due, visto che il qui presente 'Deathanity' è il seguito di 'Driven By Fate', debutto datato 2003.

Il quintetto americano porta nei nostri stereo un Prog Metal stracolmo di influenze, di cui le tre principali sono Dream Theater, OSI e Chroma Key. Inoltre le tracce in cui cantano i due ospiti Tom Englund (Evergrey) e Tony Kakko (Sonata Arctica) sembrano crete appositamente per ricordare all'ascoltatore le due grandi band di appartenenza, anziché inserire i due grandi artisti in contesti nuovi e stimolanti.

Per il resto 'Deathanity' è un buon platter, che non riserva all'ascoltatore nulla di particolarmente nuovo ed esaltante, ma che comunque mette in mostra buone qualità di songwriting ed ottime individualità. Ai ragazzi dei Maryland non resta alto che osare di più, cercando di dare o maggiore freschezza o rendendo le canzoni tecniche ma al contempo facilmente assimilabili.

La produzione è molto buona, così come registrazione e mixaggio. Da rimarcare anche la bellezza della cover, pur nella sua semplicità.
In definitiva gli Odin's Court hanno creato un prodotto buono, che non farà cambiare gli equilibri nel mondo della musica ma che potrebbe risultare interessante per i progster accaniti. I lettori sono pregati di visitare il sito della band per trarre maggiori informazioni.

PER I FANS DI Dream Theater - OSI - Chroma Key

Buono ma non eccezionale.

[OdinsCourt]

Metal Inside (no rating given):

Original in German:

Nein, trotz des leicht in die irreführenden Bandnamens - ODIN'S COURT machen keinen Pagan oder sonstigen Hörner-Met-Metal sondern die Amikapelle aus Maryland bietet unterhaltsamen Progressive Rock mit sehr vielen unterschiedlichen Klangfacetten.

Mit „Deathanity“ hat das Quintett fünf Jahre nach dem Debüt „Driven By Fate“ einen Nachfolger am Start, der sich stilistisch äußerst genreübergreifend darstellt und zwar absolut im positiven Sinne. Nur ganz grob schimmern bei den zwälf Tracks Referenzen von PINK FLOYD (insbesondere was die Gitarrenarbeit betrifft) und RUSH über Klassik Rock Vertretern wie BOSTON, JOURNEY bis hin zu metallischeren Vertretern der symphonischeren Ausprägung wie SYMPHONY X, KAMELOT oder PORCUPINE TREE immer wieder mal durch. Insbesondere Freunde der letztgenannten Bands dürften an diesem Feuerwerk sowohl was die technisch virtuos vorgetragenen Songs als auch was die hohe Dichte an fesselnden Melodiebögen anbetrifft mit der Zunge schnalzen.

Insbesondere Mastermind Matt Brookins (Gitarre Vocals) sorgt mit seinen stimmigen Kompositionen, die vor wendigem Einfallsreichtum nur so strotzen und vermeintlich noch so hohe Genregrenzen meist locker überwinden, für ein stimmiges Gesamtbild. Gesanglich bietet der Fronter ebenfalls passend dazu ein derart unterschiedliches Klangpaket, dass man kaum glauben kann es handele sich um ein und den selben Sänger. Und dann wird es auch durch die mitgelieferten Info klar, Tom Englund (EVERGREY) und Tony Kakko (SONATA ARCTICA) waren als Gäste am Mikro dabei, was so manchen heftigeren Ausschlag in einem anderen Licht dastehen lässt. Die Backingchöre sind an manchen Stellen („Crownet“ ) allerdings nicht ganz so fett und stimmig geraten wie dies hätte sein müssen (klingt eher nach QUEEN für Arme), da geht es mitunter etwas zu schräg und dahingeschludert zu. Auch was das Zukleistern mit zu vielen Ideen bzw. Aufnahmespuren betrifft - bei aller Wertschätzung für diese Kreativität, wäre an mancher Stelle etwas weniger doch auch mehr gewesen. Insgesamt agieren ODIN’S COURT für eine Formation dieses Gustos erfreulich dynamisch bzw. energetisch - heftigere Parts werden mit vielen Breaks aber auch mittels harmonischen Übergängen miteinander verwoben, so dass auch etwas melancholischere Momente mit gefühlvollen deutlich entspannteren Zwischentönen („Cosmosera“) nicht zu kurz kommen. Selbst die mehrfach angedeuteten Jazzanleihen mit improvisierten Instrumentalteilen passen sich nahtlos in den dominierenden Rockkontext ein. Gastsaxophonist Bill Green spielt bei seinen zahlreichen Beiträgen („Obesite“) dabei eine tragende Rolle. Aber keine Angst, es verkommt dabei nie zu nervendem Gesäusel. Insbesondere der zwar schon zig mal durch diverse Bands per Coverversion durchgenudelte Ludwig van Beethoven Nummer „Ode To Joy“ („Ode an die Freude“) zeigt sich das enorme Improvisationstalent dieses Quintetts, das diesem Song dabei tatsächlich noch neue klangliche Aspekte abgewinnt. "Deathanity" ist aber auch inhaltlich ein ambitioniertes Konzeptalbum und beschäftigt sich mit dem menschlichen Einfluss auf die Umwelt. Insbesondere die Verwendung von vielen Effekten und Sprachsamples spinnt sich wie ein verbindender roter Faden durch die Scheiben. Trotz aller komplexen Bestandteile kommt auch der Groove und die Seele nie zu kurz, der Mix aus laut- und leis-Dynamiken sowie die Wechsel von heftigen zu sanfteren Passagen ist meist bestens ausgeklügelt. Bereits der wegweisende instrumentale Opener „Terracide“ ist ein Paradebeispiel für die coolen Ideen sowie musikalischen Sprünge der Amis, geschmeidig-floydige Gitarren spielen sich durch Keyboardteppiche, dann folgen düstere Stakkato-Metalriffs, ein lässiges Basssolo leitet über zu entspannten Akustikklängen und so weiter - sehr gelungen. Der Achtminüter „Volatilestial“ verbindet dann ebenfalls mit gelungenem Saxophoneinsatz Klassik mit Progressive Rock inklusive hymnenhafter Hookline. Deutlich heftiger mit echtem Progmetalflair sowie Gitarrenattacken und doppelläufigen Saitenduellen kommt dann „Manifest Destiny“ daher, von dieser Art Songs gibt es einige zu hören („Mammonific“). Die stellenweise schon auch echt vertrackt angelegten Songs verlangen eine gewisse Ausdauer beim Zuhörer, aber so richtig übermäßig frickelig wird es nie.

ODIN'S COURT haben mich jedenfalls ziemlich überzeugt und legen hier mit „Deathanity“ ein überzeugendes Stück Musik für alle Genregrenzgänger ab, reinhören lohnt sich.

[OdinsCourt]

Metalchroniques (7 out of 10):

Original in French:

On ne s'étonne plus de l'omniprésence des thèmes écologiques dans le metal, y compris en terre progressive. Pour le combo Odin's court, ce Deathanity est l'occasion de rappeler tout le mal que fait l'homme à a planète bleue. L'analogie avec le mot "Humanity" possède une force peu commune, et l'idée s'avère bien trouvée.

Musicalement, cédons à la tentation du pour et du contre:

côté positif : des morceaux bien foutus, à l'instrumentation riche (un sax fait même des apparitions, aux côtés de choeurs féminins savoureux) ; une variété de rythmes et de tempos évitant tout sentiment de redite, avec moult métriques impaires qui aiguillonnent les titres ; un vrai groupe, qui fait des concerts et possède une existence hors albums...

côté négatif : un son souvent imparfait, avec une tendance à la compression, et des guitares peu valorisées ; des soli pas inoubliables, notamment pour la guitare, loin du shredding auxquel nous habituent parfois les formations de prog metal ; un chant qui manque un peu d'émotion et de coffre, sentiment renforcé dans les morceaux ou interviennent les guests de luxe Tom Englund (Evergrey) et Tony Kakko (Sonata Arctica).

La balance penche évidemment du bon côté, essentiellement grâce à la richesse des chansons, toutes travaillées et abouties. Mention spéciale à "Oceanica toxica" dont les signatures rythmiques ont de quoi donner le tourni à n'importe quel prof de musique.

Pour ce deuxième album, Odin's Court possède une avance certaine sur la concurrence qui a tendance à se coller un sticker "prog" pour faire joli. La musique du groupe respire le boulot sérieux et passionné.

Au fait, Odin's Court signifie "le tribunal d'Odin" (c'est aussi le titre d'un morceau du Black Sabbath sans Ozzy ni Dio). Il était le dieu des guerriers-mais aussi des poètes- dans la mythologie nordique (wotan dans d'autres langues).

Bon sang, voilà qu'après la biologie, on fait de l'histoire!

[OdinsCourt]

Dream Theater Forums (8 out of 10):

Based over several states, the eastern US based progressive metal band Odin’s Court has recently put out their first signed release on ProgRock Records, Deathanity. The album shows some improvement, or in most cases maturity over the previous unsigned releases.

Deathanity begins with atmospheric keyboards accompanied by an intro solo that is reminiscent of David Gilmour. Immediately following that is a section that I absolutely love. Reminding me of the early years of my favorite Italian progressive act, Time Machine, from the subtle use of all the instruments, to the unfortunately lacking production of a newer band on a tight budget. As the track changes over to “Volatilestial” the first vocals kick in. Matt Brookins, the lead singer as well as one of two guitarists has an unusual voice that may be hard to digest at first. I would be the first to admit that his voice would not suite many styles of music well, however with the hauntingly dark and emotional pieces created by Odin’s Court he fits his low, drawn back voice like a glove. Near the end of the song the band manages to create a creepy atmospheric bass line to compliment beautiful soling and keyboards, and I’m once again feeling as if David Gilmour had become the lead guitarist of Time Machine. Through the next track, “Manifest Destiny”, keyboards take over as the instrument to take over the moody atmospheric duties. Creating soundscapes behind a steady backing of an array of vocals, subtly dirty guitar tones, and ever shifting drums.

The general sound of Odin’s Court continues throughout the record, often moving from the very laid back and atmospheric to straight forward progressive metal. As one listens the high and low points of the record become very obvious. At the top you have excellent composition. A relatively new band was able to compose a fantastic concept album in which songs flow musically and lyrically, as well as stand on their own as excellent pieces of music. On the other hand the sound of the album could very well be a thorn in the bands side for a long time. The mix is good for the most part; it’s simply the quality of the sound that is lacking on almost every instrument. However as is usual, this slight lacking barely takes away from amazing music.

“Mammonific” manages to be both a dark song at times and upbeat at others, all while staring the guest vocals of Tom Englund. The guitarists show in the song that the laid back soulful soloing is not the only trick up their sleeves as they deliver an upbeat and fast tour de force on the track. The next two tracks are more of what I’d come to expect from the album; Awesome soloing, intricate instrumental work, and a complex layout. The melodies are subdued, span multiple instruments and are usually very well done. Then we come to “Crownet” featuring Tony Kakko. I love Sonata Arctica, and Tony, however I think he was poorly used in a lot of the song. His first vocals seem to come out of nowhere and seem somewhat out of place and odd. Song itself is very good; I just think there could have been better use of Kakko’s voice, although near the end of the song it gets much better than in the beginning.

Near the end of the album we are treated to a fantastic rendition of “Ode to Joy”. It’s a very well done metal cover of the song, but why in the middle of a concept album? The rest of the album is somewhat dark and gloomy, but here is this upbeat optimistic bit near the end of the album. Just struck me as odd, I’d have tacked it onto the end as a bonus track. The next to last song on the album, “Cosmosera” is a love/hate track for me simply depending at what moment of the song is on. Finally, “Vastificant” ends the album on a nice smooth instrumental departure, winding gently till the album concludes.

Although I have several complaints, I also can’t say enough good things about this album. The composition and songwriting is top notch. The band is tight, and the playing is superb. The storyline is immense and well sown into the music. There are certain things that didn’t strike me right, but at the end of the day Deathanity is a very solid “first” effort from Odin’s Court. Biggest complaint is the production, but with a young band that’s to be expected, and I’d also hope that improves with future releases. I would highly recommend checking this album out; Odin’s Court is bound to make a run at America’s progressive metal scene, managing to stay away from the more straightforward and less progressive metal that many “prog” metal bands today love to indulge in. Odin’s Court’s music tends to be more subtle in its genius and that is something not to be overlooked.

[OdinsCourt]

Metal Express Radio (7.5 out of 10):

“Deathanity displays why Odin’s Court is difficult to fit into a genre; ambience, dynamics, and soul are combined with complexity, groove, and energy in a song oriented structure, to create a unique, surreal landscape”.

Odin’s Court is an American Progressive Metal band heading out from Maryland in 2001. They have spent years in finding their sound and since then they have released two albums and a DVD, all efforts self-financed. They have also shared the stage with many great names such as Kamelot, Symphony X, Sonata Arctica and Helloween. Now they are signed with Prog Rock Records and have released their new album entitled Deathanity. Matt Brookins started to write the material for Deathanity in 2004. The concept he came up with was the effects that mankind has on the Earth. The entering of Craig Jackson and his composing skills helped in making the album what it is. This is written on their web site... “Brookins created words and fictitious dictionary entries with inspired album art for each song, further contributing to the organic feel”.

The album opens with the instrumental “Terracide” which is dominated by keyboards and bluesy sounding guitar licks for almost one and a half minutes. Then a more dark sound fills the loud speakers. The entrance of the entire band pushes out extreme energy through heavy progressive rhythms. The bass player really shows that he’s there on this one, it sounds really cool. From this one comes the song “Volatilestial” which is the first one to feature vocals. The singer has a clear and high-registered voice, really interesting to listen to! Not that special, but a great listening pleasure indeed. However, the only thing that takes this song a bit down is the guitar solo that sounds sloppy and goes nowhere. The end is dominated by a bass riff that goes over and over again until it becomes totally uninteresting.

“Mammonific” is another great tune heading out from this record. It’s melodic and has a lot of interesting progressive parts as well. The vocalist performances are outstanding. “Esoterica” is a fabulous instrumental song featuring a whole lot of great melodies and solos. But the following song “Crownet” may be the best song on this album. It’s energetic, varied and does also feature the greatest keyboard solo on the entire record. On this one you’ll also hear the voice of Tony Kakko from the Finnish Power Metal band Sonata Arctica. He does not sing that much, but what he contributes with is perfect.

Deathanity is an interesting album in many ways. The statement from their website which is written on the top of this review enumerates this album in a fine way. It’s varied, energetic and absolutely interesting as well as sometimes uninteresting. The songs become a little too long sometimes, especially towards the end of some songs and starts to stall at the same place. Looking apart from that and the lame drum production this is a good album. On the record you’ll find a guest performance from Tom Englund (Evergrey) as well.

[OdinsCourt]

Music in Belgium (4 out of 5), translated (by Google) from French:

Odin's Court is an American group formed in 2001 by guitarist and singer Matt Brookins. They spent the first two years to seek their sound while playing resumed Classic Rock and metal. In 2003, after drummer John Abella has joined the training, everything is put in place and they released "Driven By Fate". During the three years that followed, they released a CD and a DVD on self-financing. Today, the group signed with the label ProgRock Records, which already has a famous catalogue quality side. So Odin's Court has evolved and whether this new opus "Deathanity" is of high quality.

The American group has also made a reputation. They assured the first parts for people like Symphony X, Spock's Beard, King's X, Kamelot, Helloween, Enchant and the list goes on. One of their influences is also Pink Floyd. This does not seem obvious to listen to the album as it draws closer to a melodic progressive metal, but when you listen to some good arrangements on the remark. They use such as a saxophone and backing vocals that are impregnated with a "The Dark Side Of The Moon". Far be it from me to say they copied the Floyd. What nenni! They have their own personality. Indeed this is not the only influence of the group, Dream Theater, OSI, and even Tool, are also among them.

They deploy a beautiful energy. The guitars are incisors. They are two guitarists with Matt Brookins and Rick Pierpont. The keyboard Savino Palumbo provide expanded arrangements while leaving the six strings to the fore. The rhythm section of bassist Craig Jackson and drummer John Abella moved firmly to such an extent that one can compare to that of Dream Theater. As for the singing of Matt, it fits perfectly in this together. Two guests later Voices: Tom Englund of Evergrey and Tony Kakko of Sonata Arctica. Chapeau also for guitar solos often alluring.

The first three quarters of this opus (or the first 9 tracks) are particularly encouraging for the future of the group. The ensemble is an amazing consistency which shows their maturity. Energy is constant and compositions very searched. Besides the breaks-breaks and cons are numerous. And then, alone these 9 pieces already represent an album.

By the last quarter against (3 pieces) seems more décousu, like a bonus. A lack of information on the subject is the long white that makes us say that. The group loves classical music. Thus they offer us a very personal version of the famous "Ode to Joy" by Beethoven. Savaient it by saving it was the European anthem? The Americans played the European anthem, this is rather unusual.

But later on artwork remains on our hunger, promotion copy of itself to a CD without any accompaniment. One must admit that to ensure a good promotion is a little chick. Too bad because we would have liked to find out more ... ProgRock Records we were accustomed to better ...

In summary, with this new album, Odin's Court enters the big league. Bet they will still advance what they will only attract more fans. This seems well on. In the meantime, fans of Dream Theater, Symphony X, Spock's Beard, Devin Townsend and Enchant should aim listen to this album.

Original in French:

Odin's Court est un groupe américain formé en 2001 par le guitariste et chanteur Matt Brookins. Ils ont passé les deux premières années à chercher leur son tout en jouant des reprises de Classic Rock et de métal. En 2003, après que le batteur John Abella ait rejoint la formation, tout se met en place et ils sortent "Driven By Fate". Durant les trois années qui suivent, ils sortiront un CD et un DVD en auto-financement. Aujourd'hui, le groupe a signé avec le label ProgRock Records qui possède déjà un fameux catalogue côté qualité. C'est dire si Odin's Court a bien évolué et si ce nouvel opus "Deathanity" est d'une haute qualité.

Le groupe américain s'est d'ailleurs fait une réputation. Ils ont assuré des premières parties pour des gens tels Symphony X, Spock's Beard, King's X, Kamelot, Helloween, Enchant et j'en passe. Une de leurs influences est aussi Pink Floyd. Cela ne paraît pas évident à l'écoute de l'album tant il tire plus vers un métal progressif mélodique, mais quand on écoute bien certains arrangements on le remarque. Ils utilisent notamment un saxophone et des backing vocals qui sont imprégnés d'un "The Dark Side Of The Moon". Loin de moi l'idée de dire qu'ils copient le Floyd. Que nenni ! Ils ont leur propre personnalité. D'ailleurs ce n'est pas la seule influence du groupe, Dream Theater, OSI, et même Tool, sont aussi parmi elles.

Ils déploient une belle énergie. Les guitares sont incisives. Elles sont deux avec les guitaristes Matt Brookins et Rick Pierpont. Les claviers de Savino Palumbo assurent des arrangements étoffés tout en laissant la six cordes à l'avant-plan. La section rythmique du bassiste Craig Jackson et du batteur John Abella déménage ferme à tel point qu'on peut la comparer à celle de Dream Theater. Quant au chant de Matt, il convient à merveille dans cet ensemble. Deux invités côté voix : Tom Englund de Evergrey et Tony Kakko de Sonata Arctica. Chapeau aussi pour les soli de guitares souvent affriolants.

Les trois premiers quarts de cet opus (ou les 9 premiers morceaux) sont particulièrement encourageants pour l'avenir du groupe. L'ensemble est d'une consistance incroyable ce qui montre leur maturité. L'énergie est constante et les compositions très fouillées. D'ailleurs les breaks et contre-breaks sont nombreux. Et puis, à eux seuls ces 9 morceaux représentent déjà un album.

Par contre le dernier quart (3 morceaux) paraît plus décousu, un peu comme un bonus. A défaut d'information sur le sujet, c'est le long blanc qui nous fait dire cela. Le groupe aime la musique classique. C'est ainsi qu'ils nous proposent une version toute personnelle du fameux "Hymne à la joie" de Beethoven. Savaient-ils en l'enregistrant qu'il s'agissait de l'hymne européen ? Des Américains jouant l'hymne européen, voilà qui est plutôt inhabituel.

Reste que côté artwork on reste sur notre faim, l'exemplaire de promotion se résumant à un CD sans aucun accompagnement. Il faut bien avouer que, pour assurer une bonne promotion, c'est un peu chiche. Dommage car on aurait aimé en découvrir plus... ProgRock Records nous avait habitué à mieux...

En résumé, avec ce nouvel album, Odin's Court entre dans la cour des grands. Gageons même qu'ils vont encore progresser ce qui ne pourra que leur attirer encore plus de fans. Cela semble d'ailleurs bien parti. En attendant, les amateurs de Dream Theater, Symphony X, Spock's Beard, Devin Townsend et Enchant devraient tendre l'oreille à cet opus.