The band takes their elements and makes them more defined on the opening track “Above the Continuum”, which starts with catchy hooks that pulse off with the 8os prog synth, creating vast landscapes, and progressive guitars are there to add melody. The Swedes have evolved a lot in the past few years, but their newest effort, in my opinion, is the band’s best outcome since the debut.

The Mellotron arrangements in this twenty-minute track are the main driving force, interspersed with complex progressive rock, and somehow align with German Krautrock bands. Although the music doesn’t rely on complex technicality, there is absolutely a sense of excellent galloping drums and mesmerizing synthesizers.

The vast shift in tempos also shows off Hällas’s instrumental prowess. The band has revived modern prog rock, and I am quite certain that fans of 70s rock music will drool over the sound of the vintage synth and the plethora of vocals, which sound similar to the vocals of Phil Collins (Genesis).

The creative input of vocalist and bassist Tommy Alexandersson is at the forefront, backed by the bombastic and ascending melodies of the guitars, played by Rickard Swahn and Marcus Petersson. The lineup also features Nicklas Malmqvist on organ and synthesizer and Kasper Eriksson on drums.

The song structures are proggy and sound more adventurous, with an excellent display of guitars that draws its major influence from bands like Rush, Camel, Blue Öyster Cult, and Nektar. The band endorses its quality to a level that was unheard before, as they combine symphonic fragmentation of styles harking back to the early seventies’ era.

“Face of an Angel” then established the proto-heavy rock format and astounding heavy drums throughout the song. The sheer catchiness of psychedelic rock is reminiscent of Pink Floyd; it’s worth mentioning that the members use vintage gear in their performances. There are some fantastic instrumental works, catchy choruses, and synth parts riddled with hook-laden disco beats, with the cool buildup of the song structure. While still offering an adventurous experience, their fusion not only pays homage to the genre but Hällas also expands its boundaries, making the music feel both nostalgic and innovative.

This all culminates in the album with soaring epic vocals, yet the crescendo finds the right balance between exploring the explosive rock and vocals whose effect is visceral. The fantasy-themed cover tackles the dark fiction that wraps a figment of imagination.

The guitars and synth on “The Emissary” are presented in a vintage grandiose sound that winds its way through intricate synth and guitar layers; however, the guitar riffs, which seem to rely on memorable hooks, sound more like something that Rush would have conjured up. Sure, there are moments where the music drifts into space rock, and the synth seeps in.

Hällas excels with the trippy atmosphere until the song “Bestiaus” is the only track that I disliked; it begins with a soft piano note, taking the lead in this atmospheric track. The song somehow becomes softer, relying on a compelling piano; unfortunately, it feels more like a filler.

“At The Summit” is the heaviest track on the album, where the guitars hit the musical quality. The hard-rocking guitars, however, blend nicely to create a somewhat soothing atmosphere in the opening moments. The bombastic eruptions drifting into a progressive spectrum and experimentations are explored further, building throughout the song with funky synths and symphonic Mellotron.

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