There’s a cartographer in a luminous cave of impossible space; a space where time and everything begins. The cartographer builds a map of continents and whispers this is ‘where you are going now.’ I think this is the basis of H\u00e4llas disco-prog fusion opening epic “Above the Continuum.” It’s hard to tell since only a few of the lyrics of this 21-minute journey are in English, and most are in Swedish. The track begins, as all great journeys must, with a Mellotron choir drifting through fog. Spaghetti western passages appear from nowhere, then dissolve into arena rock momentum from synthesizers, galloping drums, and an ’80s synth fanfare that reminds me of ABBA mixed with King Crimson. It’s a weird combo, but damn is it entertaining if you have the time. <\/p>\n\n\n\n
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A band from J\u00f6nk\u00f6ping, Sweden, H\u00e4llas blends classic progressive rock with hard rock and ’70s metal elements, wrapped in gloriously vintage production. I hear echoes of Yes, Uriah Heep, Popol Vuh, and a bit of Black Sabbath. It’s a sound that you really need to be in the mood for, cause like most batshit prog, the compositions are challenging. On “The Emissary” and “At the Summit,” guitarists Rickard Swahn and Marcus Petersson bounce with each other, trading harmonies, Renaissance-fair acoustic plucks, and driving riffage. “Bestiaus,” counters this as a Machiavellian piano ballad, almost Supertramp-esque. <\/p>\n\n\n\n
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The vocals on Panorama<\/em> are always over the top, being mixed like they’re on the top of a crumbling mountain as Father Time waves goodbye. This is pure prog. Not for the faint of heart. <\/p>\n\n\n\n <\/p>\n\n\n\n