King Crimson drummer Pat Mastelotto and multi-instrumentalist Markus Reuter along with guest artists, elicit a largely pulsating storybook mindset via a progressive-rock/electronica and art-rock type stylization. With airy vocals, textural EFX and scorching guitar lines, the music can be propulsive, shocking and occasionally sublime. The artists inject spoken-word diatribes into the grand scheme of matters, where phantasmagorical imagery is snuggly embedded into a bevy of subtle twists, turns and King Crimson-like rhythmic deviations.
On the piece "11-11" Mastelotto speaks with a tongue-in-cheek slant about erotic sculptures and raptures, featuring Pamelia Kurstin’s theremin maneuvers and other disparate instrumentation. At times quirky and ethereal, the musicians’ do indeed stimulate brain waves here. And there are some choice acoustic-electric interludes to offset a string of bone-crunching rock passages. But they finalize the proceedings with a spacey and expansive piece titled "URIM," where dark keyboard motifs generate a spooky vista amid female vocalist Sirenee’s angelic choruses. Nonetheless, it’s a complex endeavor that makes a bit more sense upon repeated spins. And unlike the usual speed-metal storyline fare, often pertaining to wizards and ghosts, this offering merely skirts various flavors of eccentricities. Not overwrought or superfluous, the musicians’ obviously took great care with the development and execution of this project. It’s sort of like progressive-rock with a master’s degree.