Thought Chamber
Psykerion

"Psykerion," the new album by Thought Chamber, the band of guitarist and composer Michael Harris, is a space concept album, which, in the writer's opinion, is the best produced in the progressive metal scene in the last 2-3 years. It marks the band's return to the scene after the excellent Angular Perception from a few years ago.

The 16 tracks that formally make up the album are actually fewer, as many of them are connected seamlessly: I don't know why this choice was made, perhaps to avoid inserting too many very long tracks, but I would have preferred otherwise.
The album opens solemnly with the instrumental 'Inceptus,' where references to the previous Thought Chamber album and Michael Harris's solo discography are evident, and even more evident is the instrumental prowess, particularly of the exceptional rhythm section, which will enhance the entire album. Another characteristic note of the song and the entire album is the sci-fi aura of 'space progressive rock' that permeates the album in a very captivating way.
Following are 'Exodus' and 'Psykerion: The Question,' linked together as if they were a single track, where after a beautiful solo by Michael Harris, it enters territories dear to Harris-style prog metal (see the album 'Sketches from the Thought Chamber'), and the dynamic entry of Ted Leonard: nervous, electric, and acoustic rhythms provide a backdrop to the beautiful refrain (the bass lines are spectacular), whose melody will be brilliantly reprised several times throughout the album in a thousand nuances.
The grand beginning is tempered by the acoustic 'In the Words of Avakus,' a two-minute bridge to the following 'Light Year Time,' a song where I found a strange combination between Yes, 70s prog rock, and Enchant. The piece turns out to be perhaps the only one a bit out of context, and despite the mastery of the arrangements and instrumental sections, it didn't thrill me much, also because it's absolutely monotonous compared to the tentacular time and atmosphere changes of the other songs on the album.

However, my fears of a flat album are quickly dispelled: 'Keralyps' in its 5 and a half minutes is a masterpiece and a perfect example of textbook prog-metal-song, enhanced by a dizzying central instrumental part (bass and keyboards take the spotlight), by the splendid performance of a Ted Leonard who confirms himself at high levels after the excellent work with Spock's Beard, and by a very difficult refrain that, however, gradually gets into your head and doesn't leave... just think that in some parts (see entry to the instrumental parts), it reminds me of Burn The Sun by the never too praised Ark.
We recover with 'The Black Hole Lounge' and 'Circuits of O.D.D.,' also connected as if they were a single three-minute piece. It starts with lounge jazz bar atmospheres, with splendid constructions by Michael Harris and prominent bass, then moves to electric hints that culminate in the second part of the two songs, with Ted Leonard as an excellent interpreter and Michael Harris as the author of a wonderful solo, supported by the splendid bass lines of a magnificent Jeff Plant - a great discovery -. Excellent 3 minutes, which give way to the absolute masterpiece of the album, and, in the writer's opinion, one of the best prog metal songs ever heard:
'Behind The Eyes Of Ikk' is all of this: Michael Harris's genius makes the piece start with techno sounds (yes, yes, techno!) house, which beautifully transitions into a purely metal, heavy and full-bodied structure, reaching the verse after two minutes of 'killer' riffing by the excellent guitarist. The melodic construction of both the verse and refrain is great, to exceptional perfection of an immense song, also thanks to the excellent keyboard embroidery. The surprises don't end here, however, because the initial theme is naturally recalled, with a splendid keyboard construction leading to the central instrumental part of funk rock origin (yes, yes funk rock!), where all the musicians reach very high peaks, with the splendid solos by Harris and keyboardist Bill Jenking, supported by a spectacular rhythm section (I invite you to listen carefully to the bass and drum parts).
After returning to the refrain and a new funk-style solo by Harris, we reach the final part, enriched by the beautiful solo by the bassist (I have no more words - we are on the levels of Randy Coven on the Ark album, to put it in perspective) and Michael Harris, as a worthy conclusion to a song that every prog lover should listen to at least ten times a day: brilliant.

The electric atmospheres are soothed with 'The isle of Bizen,' an airy piece with great melodies, where the acoustic guitar, Leonard's excellent interpretation, and the bass textures make its structure great.
Following is the power-prog song 'Xyretius pt.2,' which, after the first minute dominated by the 'space' atmosphere and intensity of a great Michael Harris on guitar, takes off and develops thanks to the well-crafted keyboard melodies and an excellent central crescendo. An excellent piece, which serves as a 'launch' for the following 'Recoil.'
The track begins with the melodic theme from the beginning of the album, splendidly recalled by a delicate violin and Leonard's voice, then proceeds into a mad fragment where the rhythm section creates splendid, articulated passages, interspersed with verses narrated by the excellent singer. Three really remarkable minutes.
The next track on the album is another small gem: 'Breath of Life' is a sweet ballad where Ted Leonard's voice reaches peaks never reached before (and I speak with knowledge, having followed almost all of the talented singer's projects), with the ghosts of Enchant peeping in. The song is enriched by a crystal-clear instrumental work that best enhances the melodic sense: beautiful.

Following that, we have the other immense masterpiece of the album, 'Transcend,' where the rhythm section, keyboards, and the splendid riffing of the never too praised Michael Harris build a prog-song with an extraordinary melodic flavor, with a verse and chorus that get into your head from the first listen. The song at minute 2:30 opens up to the acoustic guitar, which serves as a prelude to the new verse and chorus, until the central break of incredible beauty, which after the magnificent solo by Harris continues with an almost reggae part, then progresses into a splendid 'space' atmosphere, where extreme fusion structures surround the long solo parts by the guitarist (stunning, it seems the genius of Allan Holdsworth was borrowed), not forgetting the incredible, for taste, technique, and sounds, bass performance by Jeff Plant, for whom there are really no words.
After returning to the chorus, there is a new break, introducing the final part, all in 7/8, supported by a pulsating bass and Ted Leonard's voice and masterfully crafted backing vocals, for a song of rare beauty, constructed in an exemplary manner, without any noticeable force or digression: in my opinion, also one of the most beautiful songs of recent years.
To conclude, there is the pairing 'Planet Qwinkle' and 'Inner Peace,' in which the references to 'Mr.Qwinkle's Therapy,' a splendid instrumental from the previous Thought Chamber album, and Harris's solo works, especially the latest Trans-Fused, are strong. Beautiful instrumental construction in the first, where again all the musicians stand out, great melodic closure for the second.

In conclusion, Mr. Michael Harris has created, assisted by splendid musicians, particularly bassist Jeff Plant, a great prog metal masterpiece, which pales in comparison to more renowned names for quality, musical culture, ideas, and construction of songs.
Alongside the amazing 'In the Eyes of Ikk' and 'Transcend,' there are many little gems (Keralyps, Breath of Life, Recoil, Planet Qwinkle), and only a couple of instances are inferior in tone compared to the rest of the album.
Highly recommended, for me album of the year clearly ahead of the equally excellent Spock's Beard and Haken, I just hope the group gets the visibility and success it deserves, and I hope that in the future Mr. Harris will delight us again with albums of undisputed high quality like the present.
Notably, in the limited edition I own, there are also Isle Of Bizen in an acoustic version and Recoil in an instrumental version, needless to say, beautiful.