Shadow Gallery
Legacy

Most likely, April 11, 2001, doesn't mean anything to many of you. Well, for those like me who are big fans of Shadow Gallery, this date could mean a lot more. It is on this day that the band's masterpiece, "Legacy," was born.

For those who do not know who Shadow Gallery is, this band, formed by six music masters, is dedicated to a progressive metal that owes much to bands such as King Crimson, Genesis, Jethro Tull, and more, not disdaining small influences of the power genre (although in extremely reduced quantities); but let's get back to the album.

Composed of six songs, the track list is rich in true progressive masterpieces: the episodes of the album present themselves, unlike a large part of the prog metal production, as passionate and melodic, while constantly highlighting the skill of the band members; the length of the tracks extends over fairly vast times, ranging from 5 minutes and 4 seconds of the shortest track to a good 34 minutes and 18 seconds of the final suite. The album opens with a "classic" of the band: "Headcliff", a song divided into two episodes, the first of which, "Hang On", moves on coordinates very close to the Genesis tradition, though we find greater guitar distortion: the melody and sweetness pervading this first part guide us to a second, slightly less articulated but faster and more direct moment called "The Crusher". The song runs for over 13 minutes on very high levels, surely better than today's prog (excluding the equally good Pain Of Salvation).

A piano intro instead leads us to the ballad of the album, "Destination Unknown", a track with considerable emotional impact, in which the excellent Mike Baker's voice splendidly duets with the mentioned piano; entering the heart of the song, the beautiful guitar riff, accompanied by all the other instruments (among which a very refined flute stands out), is decidedly pleasant, further enriching a well-crafted song. We then move on to the most cheerful and at the same time most progressive song of the album: "Colors"; the piano melody, accompanied by Baker's "sunny" voice, proves to be particularly easy. The work performed by the entire band is once again praiseworthy, as the main melody of the track rises to a masterpiece, taking the listener on a tranquil and peaceful journey. The splendid choirs, which faintly recall Queen (Freddy Mercury would be dazzled by their beauty), are remarkable.

We then arrive at the easiest and most direct song of the album, as well as the most power track, I am talking about "Society", an engaging and well-played song that neither clashes nor lowers the overall level of the album. The guitar riff, accompanied by a powerful bass, makes the track flow in a masterful way. And now, ladies and gentlemen, here is a real pearl of power/progressive (with naturally a greater prevalence of the second component), not to mention the title track: "Legacy", it presents itself as a song of great impact, played entirely on technique and a very tasteful guitar riff; the marked change in Baker's voice, adopting lower and more aggressive tones, fits well with the musical context. The only flaw of the track (almost perfect) is some not entirely fitting choruses, but still very good ones. And if you have thought until now that you have heard the best of music, relax because it's time for one of the best suites ever heard: "First Light", a long track of as much as 34 minutes and 18 seconds of evolutions, passion, emotions, speed, introspective moments, sweetness; the ease with which the band conducts the piece, rich in changes of time and melody, is petrifying, so much is the skill and fluidity with which the group manages to conduct this half hour and more of great progressive. The music is excellent, therefore, but no less are the vocal parts, at times high and crystalline, at times lower and sharper. Also excellent is the work of both electric and classic/acoustic guitars, which intertwine with enviable bass lines and a drum that marks unmissable times.

So the album ends, an album of extreme charm, which I fearlessly feel like calling an extreme masterpiece of the progressive scene, deserving of praises until now only given to albums such as "Images And Words" by Dream Theater or "The Divine Wings Of Tragedy" by Symphony X. The production of the album is really excellent, as already mentioned, the band's performance is truly impeccable and heartfelt.

Ultimately, readers, I will not tire of saying it, but we are facing a true masterpiece.