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Rating: 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.
Tracklist Lyrics and Videos
05 Sanctuary (02:57)
blind eyes search the sky
but try not to reveal uncertainty
behind images dancing on a wall
each tear a vision
the more you cry you'll learn
it's so easy to hide in the dark
the song you know so well
encourages to flee the answer to your tears
lingers in colours you can't see
each word a whisper
the more they say you'll find
it's so easy to hide in the dark
you won't find the treasure below the rainbows end
black and white are strangers to the pictures of the rain
you meet another day
with hasty little lies
when someone laughs you turn away
glad people make you feel unsafe
there's a place where all is sound
where you know you won't be found
where the sun and the moon never shine
and it's easy to hide in the dark
06 A Million Gods (07:44)
don't hesitate to hope, they said come close,
don't be afraid love
don't seem to find it's way to where you stay
you have to feel the light,
they said it's easy to forget
love is really far away
for a dying of today
mother mary comfort in a cross of silver
hard to pick a saviour from a million gods
'cause when you settle for a new dimension
you'll never find the one your dying for
last temptation; touch me before you close your eyes
die a martyr to your principles
'cause you're the only god who's visible tonight
once you have crossed the course
you seek when your resistance'
weak when your goal is left behind you
soon recline eyes of the source
you're searching for can't see you anymore
and salvation's far away for a dying led astray
make another mountain
move before it's over try to pick a saviour
if you know his name but mary's crying
on the edge of heaven deliberation's bad for faith she claims
last temptation; touch me before you close your eyes
die a martyr to your principles
'cause you're the only god who's visible tonight
they all seem to be the same
so hard to decide
when a million gods retain all there is to find
there's another universe behind each blinding flare
suddenly they'll all emerge
but none of them would care
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Other reviews
By splinter
"The masterpiece is 'A Million Gods'... a concentration of emotions among power-style big guitars, keyboard backgrounds, perfect bass lines, and ingenious effects."
"Conception was a band capable of touching us... and even now when we listen to them we get emotional... honors and recognition to a band that lasted really little... but why not dream of their return?"
