It also reminds me to the early Tangerine Dream.īut when the "Illusion" ends, in the middle of the track, it's like a Maya veil is raisen. Vangelis of Albedo 0.39 or China than to Pink Floyd. "Heavenly Illusions" starts like Shine on You Crazy Diamond, but just for few seconds, but again it's closer to the True fan of Vangelis, but Kitaro is quite similar. After about two minutes of this unusual soundscape, it becomes more regular. "From Astral" is initially based on percussion and a sitar like sound together with a traditional strings instrument, it The best album track for prog-eared listeners. Not a specific melody, at least not in foreground as "Resurrection" starts with electronic sounds, then a subtle high-pitched sound mimic of a wooden flute enters inīackground bringing with him a set of interesting sounds. I don't like tracks fading out, but this is an exception. Who is the closest artist to compare Kitaro to, even with the far eastern element that's a constant presence. Again it's not much different from Vangelis "Full Moon" is on the sad side, due to the progression of minor chords. There's a bit of a Topographic Ocean inside this track. I can understand how Kitaro ended to make one album with Jon AndersonĪs guest. Can a title be less Japanese than this? I can only say that being in the If it wasn't for the specific keyboard sounds, it could be mistaken with Vangelis, including the floydianĬoda of what seems to be a traditional Japanese theathrical performance (Absolutaly Curtain, is what I mean forīack to far eastern soundscapes with "Fuji". Minor chords, percussion, drums and a sort of helicopter going left and right through the speakers. My google japanese teacher says it means "ray of New Age? I think yes up to here, but it fades into "Hikari No Mai". If you are in the right mood for dreaming about far east natural landscapes, this is perfect. "Aurora" is a melodic piece with sliding notes that's quite successful in raising mental images of high hills and Sensations that it gives me are like those of the Tibet Suite by Lucia Hwong. No enemies to kill this soundscape is meditative and the Notes remind to the soundtrack of Tomb Raider II. Followed by an electronic loop it ends into an oriental theme whose first Water drops and birds, this is how it starts. The album has a solid 51 minutes but it always seems to be over too quickly. They have really matured very well here it's one of their best albums when it comes to combining their elements with taste and musicality in such a way that things are kept interesting over the whole distance. Despite the stylistic coherence they make the tracks varied and different probably when Kong started off I wouldn't have predicted that their concept can carry them through 9 studio albums with enough variety, but absolutely it can. The album is really well balanced with some calmer parts thrown in where needed, and some more focus on the electronic sounds and subtle atmospheres following up on very guitar-heavy riff oriented material. It works extremely well for driving and getting into the flow. Rhythms are important, it's a physical affair. So, as always we have heavy guitar-oriented instrumental music with some electronic spice thrown in, which in some tracks take the lead. But I don't mind much, as pretty much no other band does music like this, and so I have no complaints against getting more of it. This is just what Kong are best at, and they do it really very well here, which on one hand means that this is a wonderful album, but on the other hand that they don't exactly break new ground here. Now I really want to review this, but the review is somewhat predictable. I'm delighted that Kong have a new album out after 9 years.
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