Outopsya
LiveDemon 205

THE REVIEW

A guitarist, a bassist, a drummer and a lot of creativity and inventiveness. Eight instrumental tracks for a journey of 36 minutes through metal, progressive, hard rock, and a hint of new-jazz. Not a moment of pause, not a moment to stop. Outopsya force us to swallow the entire meal in one gulp, not giving us the time to digest their original recipes. But after the initial impact, this album will become a kind of drug.

It starts with "A Whirl To Activity", with that sick and distorted guitar that follows us throughout the track, accompanied by a drum that struggles to contain itself, as if about to explode. Then the delicate sound of a guitar at the beginning of "Tarred Life" tries to deceive us. But soon its electric companion silences it, because it is the mistress. This time, however, it is not sick, but clear; it is the message it communicates to us that is poisoned and twisted. In "Lord Of The Flies", the group's new-jazz part is evident, even if the blood running through the veins of this track is mainly metal. But it's a metal that I would dare to define as "elegant", full of embellishments and very fascinating interludes. Here you can also appreciate the technical skill of the three, which is not, however, flaunted. The next track, "Exxential", seems like a hurdle race run by an imaginary being which, instead of having arms and legs, has a guitar and a drum. The drum clears the ground which is subsequently traversed by the guitar. The ground is made up of bass, which seems to be literally "beaten" by drumsticks. Then "A Sad Intermixion To Sand"; a nightmare from which it is difficult to awaken. Madness and calm special effects at the same time. The awakening is painful and slow, sometimes it feels like falling back asleep, and a certain melancholic air pervades the entire track. "SandNess" is the logical consequence of the previous track. But this time, there is the awareness of being awake, the nightmare is over, and the instruments themselves tell us so. In "Xenimpro Ph. 1" the guitar never stops screaming, giving us a headache. We would like to tell it off for once, but we can't because it prevents us by continuing to scream in our ears. "Xenimpro Ph. 2" wants to apologize for the extreme rudeness of the previous track, and it does so through a quirky but polite clean guitar. However, the track changes rather quickly and without warning, and an electric guitar solo accompanies us to the end of the album, as if to once again reaffirm its superiority over its younger sister.

You've never heard anything like it, and that's exactly why consuming this music in large doses (at first) can cause side effects, but it's a risk I think is worth taking.