Conception
In Your Multitude

It was 1995 when the third (and penultimate, darn it!) work of Tore Østby & Co. was published, the third confirmation of their talent and the third regret for the almost total indifference that this band undeservedly suffered from many quarters in their career, especially from the media and industry insiders.

Without taking anything away from its predecessor, we are faced with an authentic masterpiece; this album completes the "transformation" of the keyboards from a background role (in the previous albums) to an essential element. The compositions are well blended, increasingly complex and prog, yet more enjoyable and rich for the listener, and the technique combined with melody, never cloying or self-indulgent, make this work the best in the band's discography. Best in terms of creativity, maturity in songwriting, and final consecration of the winning duo Østby/Khantatat, capable of giving shape, with almost perfect melodic lines, to all the songs.

The tracks are enriched with progressive metal elements played with impeccable and never sterile technique, cold or predictable. Even the use of odd times and numerous tempo changes never raises the doubt that they use their skill for pure "academic exercise." I wouldn't want to dwell on Roy Khan, but in front of such a beautiful and versatile voice, I can only applaud the greatness of this underrated singer who, despite himself, is overshadowed by more renowned singers, but who, in the end, manages to surpass both in usable range and interpretation. He manages to transition from deep, almost theatrical voice parts, to vibrato parts, to fast moments with aggressive and precise singing, to others with goosebump-inducing high notes, all while remaining incredibly clean and melodic: unparalleled.

Also in this album, the aforementioned melody is always the fundamental component of the songs and the union with the heavier parts is always spot-on; the keyboards, which enhance the masterly work of the brilliant Tore on guitar, never feel out of place; the work of the rhythm section entrusted to Heimdal (drums) and Amlien (bass) is always indispensable and impeccable. I could journey through all the tracks, but it would be too long and dispersive, so I'll just mention two. The beautiful ballad "Sanctuary": with guitar arpeggios and Roy's voice leading us hand in hand through a piece that approaches 3 minutes and gives us unique and unrepeatable sensations. The other song (you have no idea how hard it was for me to decide) that more than any other represents the evolution of these great professionals is "A Million Gods": complete. Melody, power, groove, speed, tempo changes, guitar/keyboard unisons, bone-crushing drumming, but also parts with Spanish arpeggios, guitar and keyboard solos, and a vocal interpretation on the edge of perfection; perhaps the best (or at least the most complete) song ever by the band.
I could mention all the other songs or none, but it wouldn't make a difference, given the absolute quality of every single second of every track.

The actual rating for this album would be 110 with honors and an academic kiss. I don't think I'm exaggerating when I say that this album can be easily placed, without the slightest inferiority complex, alongside the best works of Dream Theater, Pain of Salvation, and Queensryche (to mention only a few of the most famous bands).
My only regret regarding these songs is that I discovered this album almost 10 years after its release, don't make the same mistake as me, you would regret it.