Haken
The Mountain

Who knows... This is probably the word many used while waiting for the third release by Haken. The debut "Aquarius" amazed everyone with the originality of its offering, a prog-rock/metal that didn't just stick to the genre's conventions but went beyond, proposing fun and unpredictable solutions made of particular sounds and effects, jazz-fusion nuances, even reggae, and so much more. It was hailed as a breath of fresh air, and it was received very warmly. The following "Visions" was also well-received because it was always great music, but it raised some eyebrows for opting for a prog-metal that was decidedly less surprising and more predictable, with too many references to Dream Theater, especially in the instrumental parts, and with flashes of genius that were decidedly more sporadic. Some might have thought that the initial spark had faded quite quickly.

And yet, here we are with "The Mountain," ready to pleasantly surprise everyone. The band returns to a more varied and unpredictable sound, proving that creativity has not vanished at all; in fact, the best might still be to come and they are gradually unveiling it. They move away from the more Dream Theater-like approach of "Visions" and shift towards a sound that perhaps leans more towards alternative metal and avant-garde, which has greatly benefited the band. The guitars take center stage with intricate plots and complex riffs often interlocked with each other, not to mention the bass, and even the keyboards offer quite a few unique insights. In short, the band's technical skills are increasingly evident and more than ever at the service of fantasy. It's impossible not to fall in love with those interweavings, as well as with the naturalness with which they flow.

The introduction, however, is very simple and direct: "The Path" is a delicate and evocative piano intro that seems to have the very purpose of accompanying us, preparing us, allowing us to catch our breath before diving into an album that instead requires a lot of attention. However, "Atlas Stone" immediately arrives, striking with its bright and sunny melody and its rather sustained rhythm... but also with the brilliant and unpredictable inspirations that intervene here and there, such as that beautiful jazzy interlude with the sound of an electric piano that suddenly breaks the aggression, or the percussion inserts, as well as those bass slaps with an almost funk flavor.

But we're not at the top yet; in fact, the top comes immediately afterward. "Cockroach King" is the most imaginative and disorienting track of the bunch. The influence of Gentle Giant is evident, especially regarding the use of both vocal and instrumental counterpoints, yet the song sounds heavily current and full of truly unique sounds. One could say it's the music that Gentle Giant might play today. The reggae influences alone are enough to make the listener jump from their seat in amazement, but an even more violent leap occurs when hearing the particular keyboard sounds in the instrumental part. I've never heard anything like it before, as far as I'm concerned.

But be careful, I've said that this is the highest peak reached in this album, so don't expect anything to amaze at this level anymore. "In Memoriam" is a track that essentially strikes with its guitar and bass riffs, with how they follow each other and intertwine. But the next and more melodic "Because It's There" is more suggestive, opened by an a cappella choir followed by once again more delicate guitars; here, the accordion-like sound accompanying the chorus and the strange sound effects that follow it are striking.

The second most brilliant track is nonetheless the following "Falling Back to Earth," especially in the first part. The first part indeed features hard riffs alternating with jazzy breaks, intricate guitar and bass parts, but especially edgy synth sounds, once again quite unique. The second half is instead more predictable and calm; one of many examples of tracks that could be titled "The Storm Before The Calm" even without being titled so.

And to let us catch our breath a bit for the final part, we have another piano-oriented track, "As Death Embraces," which is obviously appreciated for its relaxed yet melancholic melody. It is the prelude to another remarkable track, "Pareidolia." It shows heavy Middle Eastern influences that marry well with the alternative metal setting of the track. Alongside the metal riffs and usual guitar intertwinings, there are ethnic percussion parts accompanied by typical Eastern scales (in the manner of Myrath) and even a splendid bouzouki solo that turns out to be one of the album's most interesting insights. The closure, however, is entrusted to a decidedly softer track, almost as if to more peacefully face the end of a rather treacherous journey. "Somebody" has slow rhythms, delicate guitar arpeggios, intriguing music box-like sounds, and a nevertheless intense melody.

The answer we wanted from Haken has been delivered. "The Mountain" is undoubtedly richer in ideas and more inspired than "Visions," while strong doubts still arise about whether to rank it above or below "Aquarius." The fact is that any doubts about the band's creative future have been resolved. Yet I always have the impression that this band can still do more. Who knows what kind of miracle we would be talking about if the pure compositional and sonic madness of "Cockroach King" had degenerated, showing itself more present on the album... But anyway, the album has given certainty that the future of prog is also in their hands, and we must continue to bet on them. Meanwhile, we won't forget it when compiling the best prog albums of the year list!