With a style described as dark cinematic progressive rock. Astrakhan from Sweden are regarded as treading a path between Opeth and Pink Floyd. This is their third album release.
I’d read that singer Alexander Lycke had a stunning voice, and took that claim with a pinch of salt, but I have to say that it’s true. This man’s voice is a feast in itself. The clarity and soulfulness of his voice reminded me of Green Carnation’s Kjetil Nordhus. In fact, the opening song ‘Lonesome Cry” reminded me of Green Carnation at their most powerful. Lycke’s clear voice and strong emotional chorus are accompaniments to a well-crafted song, which works in a mysterious way without ever being too soft or too hard for the emotion involved. As a wake-up, this opening song captured my attention immediately and throughout its course. “Take Me With You” starts more heavily with sharp style guitar work in the style of Madder Mortem. Instrumentally a mystical air is created. The song is not simple. The harmonies are eccentric but add playfulness and yet darkness to this progressive ball of sophistication. I lost track of what this song is about, such is the wonderment and vast array of musical creativity. It’s rock, it’s a bit metal, it’s avant-garde, bonkers and delightful. I couldn’t wait for the next song.
Lycke now climbs on his pedestal, and aided by a dramatic backdrop, pumps out pure progressive emotion on “What You Resist Will Remain”. Dark prog rock is the setting for “Never Let You Go”. Never going to be rushed, this song is mysterious and suggestive. The instrumental work is colourful and suggestive along the lines of someone like Darkwater. Lycke raises the bar as ever, matching the drama and emotion of the guitar work. I couldn’t get it out of my head that Lycke’s vocals are somehow like David Bowie. The musical style is different from Bowie but the idea is there that you’re hearing something original. “Youtopia” by contrast is pure Green Carnation in melancholic style and delivery. Lycke appeals to the skies. The hard rock style reflects the dark side. “Until the End” is a punchy rock song but for me lacked the personality of the others. But electrifying prog power returns with “Control”. Fizzing with energy, it’s a catchy but progressive style song laced with keyboards and personality. After it ends abruptly, the drama resumes with “M.E. 2020”. A hard rhythm and a retro Manfred Mann tyle keyboard solo create the mood. This is shadowy. Lycke’s vocals are of course shadowy. The musical style reflects the vocals and vice-versa. As he cries to the universe, evoking a sense of isolation, I half expected to hear “Ground Control to Major Tom”. Away we go into a wonderland of mystical rock music. And so it ends.
“Slow Ride to Death” is a fascinating album. It’s got hard rock, progressive and retro elements. Each song has its own mood and personality. It’s not over-indulgent as some progressive albums can be, but it’s certainly not simple in its structures, which makes further listening a pleasure. It has moments of original creativity and moments of traditional rock. It’s never boring, and the immaculate vocal work is the icing on the cake, blending in and enhancing the stories that these eight songs tell.
(8.5/10 Andrew Doherty)
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