Collaborations between members of different bands are not unusual, but this is a particularly interesting one. The idea of the band came about in 2017 when two of the band members were together in Mike Portnoy’s Shattered Fortress, so clearly prog was always going to be on the agenda. One of the pair is Diego Tejeida, who I know better from his time as the hugely talented keyboardist in Haken. The other interesting band member, to me anyway, is Fredrik Klemp, known to me as the ebullient and distinctive vocalist of the Norwegian melodic prog rock band Maraton. So melodic prog with a strong keyboard element was what I was expecting, based on the cv of the band members.
Dark synth waves lead us off. “TMT” is suggestive of something grandiose and epic. This builds up to the rocky riff of “Through the Sands of Time”. Fredrik’s soft voice drifts over Diego’s synth. The other instruments reappear. Drama is everywhere as it ascends into the sky. Eric Gillette’s guitar work keeps us up there. The drums, provided by Shining’s Simen Sandnes, add further sophistication and colour. “Through the Sands of Time” is an exciting and well-blended piece of prog metal. Fredrik’s vocals are made for this bright and airy atmosphere. “Falling Away” is again full of character and expression. Bassist Jakob Umansky provides the undercurrent to this lofty fare, which flies high but also has moments of dark drama, frequently provided by the keyboards. A colourful prog rhythm leads us into “Count Your Losses”. The sound is heavy and djenty. Fredrik’s voice floats above the riot of prog instrumentals. I like the fact that songs don’t stand still but are constructed as dynamic songs. The points of reference are bands like Devin Townsend, Leprous and Tesseract. I’d add Spheric Universe Experience to this list. Temic’s music is universally dynamic, none more so than the attack at the start of “Skeletons”. Even when it quietens down with Diego’s keyboards lurking, it’s impossible not to feel the song becoming more expansive. In this case Temic don’t explode but keep control. Prog patterns fly at us from all directions. Flamboyant is the best word I can find to describe the drum, guitar and keyboard patterns. Higher and higher we fly. And after all this “Skeletons” is a catchy and heart-warming song as well as being replete with exciting prog gymnastics.
Fredrik’s vocals to open “Acts of Violence” are almost whispered. There’s a spine-chilling quality to them. Harmonies are added. The song builds up dramatically – there’s a lot of this – and we find ourselves amid a heavier scene, with Eric’s dextrous guitar-playing to the fore. As testimony to this band’s ability to create stunning soundscapes, the whole thing is brought together and we are treated to a delicious and dynamic climax. This is followed by the prog excitement and movement of “Friendly Fire”. Perhaps the most indicative of the band’s virtuosity of the songs on here, this instrumental breaks neatly towards the end, plays with us and cleverly pieces the song back together in another example of well-managed structure. “Paradigm” comes from the quieter end of the spectrum, but as ever it’s a vehicle for expansive musicianship and vocals. Fredrik’s voice is angelic and full of appealing emotional strength. The musicianship is both comforting and spectacular. The emotion continues into “Once More”, noteworthy for its catchy rhythm and the remarkable versatility of Fredrik’s vocals. The song bounces along before darkening and descending briefly into a thunderously dark section. Fredrik returns and the bright and breezy poppy type song resumes. Of all the songs on the album, this was the most strikingly commercial and yet it has the typical values of a prog metal song. One of the overall appeals of this album for me without doubt is that the band has carved a path between song progression and pure prog shapes, with the integrity of the songs winning out and always retaining a sophisticated but not over complex integrity and structure. “Mothallah” smacks of drama from the start. The backing instrumentals are dark. Henrik’s voice rises above all this, exuding expression. The song’s prog instrumental mastery is matched by choral majesty, bringing about a powerful conclusion.
This is a dazzling display of prog metal. Given the credentials of the parties involved and the bands they play in, there was a risk that we were going to drown in a sea of self-indulgence but this is not the case. The structures are sophisticated but controlled and managed immaculately. The result is that the songs are a delight. Power exudes from each of them, as we ride on the crest of a dynamic wave from start to finish.
(9/10 Andrew Doherty)
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