Conception
The Last Sunset

Born as a thrash metal band at the tail end of the '80s (specifically in Norway in 1989) and founded by the Østby brothers (Tore (then 16) and Dag as guitarist and singer, respectively), Conception realized (after a couple of years and the permanent addition of drummer Arve Heimdal and bassist Ingar Amlien) that their music was no longer just thrash metal and that Dag's voice was no longer suited to the new style. Said and done, Dag leaves, and a certain Roy S. Khantatat enters just in time for the recording, shortly thereafter, of this their first album, which is notable (besides the music) for its very good production.

The style presented by the 4 Norwegians is a melodic power metal mixed with thrash, with some passages close to prog, and with frequent insertions of classical guitar that the “little genius” Tore plays with a markedly Spanish style. To many, it might seem like a gamble, but incredibly all the songs come together perfectly, and the “Spanish” guitar breaks give a unique touch to this album. The guitar riffs are always powerful and never predictable, the drumming is no less, and the rhythmic section finds full expression with Amlien’s bass work always present and incisive throughout the tracks. The opener Prevision (only guitar and keyboards) gives us the impression of being immersed in a shroud of fog that conceals the devastating second track Building a Force, with its tight riffs and drumming reminiscent of the band's thrash past. In the following War of Hate, the classical guitar appears (and it will be a constant from now on) with a few initial Spanish-style seconds. The song's rhythms are slightly slower than the previous one. It is followed by Bowed Down With Sorrow, which is the most cadenced and at times melodic, with a good part of the singing in vibrato; while the fifth track is Fairy’s Dance and presents a nearly epic-style singing in the verses, we also find a slight insertion of some “whispered” keyboard parts here.
High levels are touched again with the power Another Word that also presents us with a beautiful chorus in the refrain and a solo (one of the most beautiful I’ve ever heard) “tear applause” of the magnificent Tore. Here we are at the poignant and melancholic melody of Elegy, an instrumental of keyboards and guitar that introduces us to the title track. It starts as a melodic ballad that after halfway accelerates; it’s just beautiful, with Roy at the highest interpretive (and general vocal) levels. Live to Survive, on the other hand, is another one of their songs with thrash reminiscences, fast and very well played with a couple of high notes by Roy to remember and make many of the more famous singers on the world scene pale. The final suite Among the Gods (over 10 minutes) is worth the entire price (which, by the way, is not very high) of the album, it is a clear demonstration of the prowess of the 4 who manage to blend Spanish rhythms with fast thrash riffs resulting in one of the most interesting songs on the album (and absolutely my favorite), but this is not just power or thrash. It goes from thrash to flamenco, from heavy metal back to thrash, to reach, in the final part, a series of guitar passages (at times classic and at times heavier), with the keyboard insertion, that seem borrowed from Dream Theater.

In all tracks, Tore gives us a showcase of guitar skill for all the classical/electric guitar mixed solos, bassist and drummer mark the rhythms always impeccably without ever falling into déjà vu or “plagiarism” of someone else or worse of themselves. And Roy? Roy is one of the best singers ever, and in this as in the other albums he interpreted, he demonstrates his versatility.

In conclusion, an album recommended to all those who love experimental albums with a power matrix, but still very easy to understand.