Athenaeum Of Sin Reviews

October Thorns – Circle Game Review opens and discusses the FIRST SIN: THE STRINGS/KEYS, which comprise twin guitar virtuoso riffage, pulsing bass riffs and flowing complex synths/keys.

Let’s talk about the SECOND SIN: THE VOCALS, which involves various vocal range artistry.

Moving on to the THIRD SIN: THE PERCUSSIONS, which delves into the vast world of galloping drumming and beats.

In our following discussion about the band’s musical work, we will focus on the FOURTH SIN, the overall DISCUSSION of the album. Before the listener dives into the music, CIRCLE GAME (active from 1999-2001) isn’t a comeback from the band. Instead, this release gathers vintage recordings of the band’s original six-song demo, wholly remixed and bolstered by six previously unreleased rarities. By the time the band had completed a six-song demo, they were being covered by international magazines and garnering interest from labels. Unfortunately, intra-band tensions were already causing instabilities within the line-up, and the members’ working relationships proved too damaged to carry on.

Onward with the music and one’s musical journey, as soon as the listener presses that play button, one is welcome to the open piece PAGE ONE, where one is welcome to complex/technical ambience and guitar virtuoso and -Esque RUSH soundscape opening, building up to a grand-scale of epicus of the guitar, drum, and clean vocal work.

Following suit with the second piece, CIRCLE GAME and the ten remaining pieces…

While embracing and losing oneself with the remaining ten tracks, without a doubt, each of the songs is breathtakingly, beautifully written and arranged and undoubtedly will take your breath away.

As one continues their journey – an utterly unforgettably sound of pure deliverance of progressive metal consisting of twists and turns within the music, where one will find that each song is different from the other, such as atmosphere, instrumental/vocal work, tempo, sound, and mood -music that’s filled to the brim with various compositions and characteristics such as different perspectives/tempos, (good balance of) dark and light atmosphere, multiple tones and moods, laying heavy on echo/sustain effects, burst of energy -all topped off with technical/complex and sophisticated instrumentation and vocals artistry consists guitar (progressive) virtuosos which utilises catchy/blazing speed of -yet emotional (clean) melodies and rhythms/dissonant harmonies -along with flowing guitar solos, flowing and complex atmosphere keys/classical piano sections, galloping drumming and vocals utilises clean vocals/choruses, pitched vocals, growls and piercing screams; which is all delivered and provided by excellent devilmanship, and twelve well-writing songs and music.

CIRCLE GAME’sproduction is clean and tight, with a sound that’s crystal clear/crisp sound and an atmosphere that captures this “beautiful, magical, theatrical and poetic wall of sound,” capturing this modern sound and, at times, their music is seen to capture this sound and vibe of RUSH, especially at times in the vocal work; there are times where the mood and atmosphere seem to grasp that classical hard rock vibe of ELP, DEEP PURPLE (especially the keyboard work, which was found in these two acts), BUDGIE, WHITESNAKE etc.

A must for any progressive rock/metal and neoclassical metal fan.

I wanted to share our thoughts and MEMORABILIA on the FIFTH SIN. The whole piece, the agreements of the music, songs and instrumentation and the sound quality/clean production, but the mood and atmosphere change within the music (feels); each piece has an identity of its own.

Let’s discuss the ARTWORK of the SIXTH SIN. The artwork has this spiritual and tranquil feel and looks, but it has this DREAM THEATER feeling and look!

Finally, the review will close with the last sin, the SEVENTH SIN, the DISRELISH. Since there is nothing to disrelish within the musical world of OCTOBER THRONS. This concludes the October Thorns – Circle Game Review.