Reviews

Eine bulgarische Progressive-Metal Band.


Anno 1993 gründen die Freunde Pete Christ, “Floyd“ Rossen, Jiip Randam und Lambie in einer kleinen bulgarischen Stadt die progressiv ausgerichtete Band LAVENDER HAZE. Sie beziehen sich auf QUEENSRŸCHE, nehmen unterschiedliche elektronische Einflüsse auf und komponieren komplexe Songs. Bis 1995 wächst die Mannschaft durch zwei weitere Zugänge, nämlich Sänger Tony Ivan und Schlagzeuger Drago, zum Sextett an. In dieses Jahr fällt auch die Umbenennung in PANTOMMIND und die erste Studioproduktion, ein Track namens Every Dream Is A Game. 1996 realisieren die Musiker das Demo ’Unreality’, eine EP mit vier Nummern. In der Zeit von 1997 bis 1999 spielen Ivan (Gesang), Rossen (Gitarre), Christ (Gitarre, Keyboards), Drago (Schlagzeug) und Dean “The Boss“ (Bass) mit ’Farewell’ (1999) das nächste Demo, diesmal aber in Albumlänge, ein. Zu Beginn des neuen Jahrtausends verlässt Dean aus familiären Gründen die Gruppe und wird von Dido beerbt, der bereits in der Anfangszeit der Truppe mit an Bord war. Die nächsten beiden Jahre bringen, trotz stetiger Bemühungen, nicht den erhofften Durchbruch. Nachdem diese harte und aufreibende Phase der Bandgeschichte überstanden ist, folgt dann aber ein neues kreatives Hoch. Im Frühling 2003 steigen der Keyboarder SunnyX und der Gitarrist Peter Vichew, der Rossen ersetzt, bei PANTOMMIND ein. Mit frischem Mut nehmen sie das erste reguläre Album ’Shade Of Fate’ in Angriff. Es erscheint schließlich, nach immerhin 12 Monaten Aufnahmezeit, im Jahre 2005. Die offensive Promotion für die Scheibe zahlt sich aus und gipfelt in Lizenzverträgen für Europa und Nordamerika. Auch auf der Bühne tut sich viel. So erhalten die Bulgaren Möglichkeiten für denkwürdige Auftritte, wie z.B. mit FATES WARNING (Februar 2005) und HELLOWEEN (Januar 2006). Außerdem spielen sie beim renommierten Progpower Festival Europe in den Niederlanden. Ende 2006 beginnen PANTOMMIND mit den Arbeiten an ihrem nächsten Longplayer ’Lunasense’, der seit Mai 2009 draußen ist.

Die Südosteuropäer sind, wenn es um ihre musikalische bzw. künstlerische Ausdrucksweise geht, keine Freunde übertriebener oder gar abgehobener Experimente. Im Gegenteil. Sie beschränken sich auf das was sie wirklich beherrschen und liefern den Freunden der anspruchsvollen, aber dennoch recht harten progressiven Musik damit einen echten Leckerbissen. Die Tracks auf ’Lunasense’ bestechen durch Melodie und Atmosphäre. Sie sind temperamentvoll, zeitweise regelrecht aggressiv und klingen manchmal düster, wirken dann aber auch wieder viel getragener und gelöster, ja sogar entspannt. Prog Metal und Prog Rock geben zwar die Richtung vor, lassen jedoch hin und wieder auch einen gewissen Jazzanteil zu. Hier kriegen sowohl die Headbanger, als auch die an filigranen Details interessierten Zuhörer ihr Fett weg.

Das bulgarische Quartett muss sich mit dem neuen Album hinter keiner anderen Band des Prog Metal zu verstecken. Sie sind ausgesprochen versierte und vielseitige Musiker, denen so schnell keiner etwas vormachen kann.

’Lunasense’ besitzt, nicht zuletzt dank seiner Produktion, eine Menge Biss und Ausstrahlung, aber auch Tiefgang und Charme. Der Klang wird den vielfältigen Schattierungen der Songs vollauf gerecht.

PATOMMIND können mit ’Lunasense’ ganz sicher bei all jenen voll punkten, die auf größtenteils heftige und gleichzeitig herrlich progressive Sounds im Metal- bzw. Rockbereich in Kombination mit jazzigen, symphonischen und balladesken Tönen stehen und nix gegen Tempi zwischen langsam und leicht thrashig, inklusive beinahe sämtlicher Zwischenstufen, haben.

Michael Koenig

If my review of this Bulgarian band’s debut album concluded that their music was still a work in progress, then their sophomore release is most definitely the finished article.
A big lack of consistency in the songwriting and production departments was the biggest failing on A Shade Of Fate which was released on the Sensory label in 2005. Two standout tracks and some other moments of brilliance however showed enough promise to tempt me to keep an eye on this quintet. All I can say is that the four years it’s taken to create Lunasense has been time well spent. It will take some album to replace this as my favourite traditional ProgMetal album for 2009.

Last time around the band’s sound drew comparisons from me towards Andromeda and Vanden Plas. Whilst I’d stick with a clear Andromeda influence I’m reminded much more of Crimson Glory, Savatage, early period Queensrÿche and maybe a touch of Darkwater.
The arrangements are multi-layered yet not complex for the sake of being complex. Nothing really passes the six minute mark yet there are plenty of details which will reward repeat listens. The songs have a pleasing variety in levels of light and shade achieved by an interchangeable use of both piano and keyboards and electric and acoustic guitars.

As I said at the start, there is a real consistency to both the production and song writing this time. After bravely opening with an instrumental (it’s a good one!), the real highlights come in the middle. Sandglass and Letter To No-one are fantastic examples of the melodic ProgMetal genre – a more progressive and modern version of Transcendence-era Crimson Glory. The absolute gem, which I just can’t stop playing, is To The Day’s Of Old. A balladic, yet powerful song, which really benefits from the guest female vocals of SanDiego-based Coleen Gray. What a lovely voice she has.

So to has the band’s main ‘voice’ Tony Ivan. He’s got something of the late Midnight (R.I.P.) about him. I know singers who spend a lot of time in the upper registers are not to everyone’s taste. But Tony Ivan ain’t no screamer and really can nail those notes with a lovely warmth and depth of tone. He equally occupies a rich mid-range, and there’s nothing for the accent police to worry about.


The second of the Transmission instrumentals is little more than a piano mood piece, but elsewhere the songs never dip below 'excellent'. The Dali-esque cover is great!
I’ve been doing this review lark for long enough now, to know when an album deserves special attention; when a disc stands out from the crowd. I’ve already got a huge stack of records from this year, but again and again this is the one I tend to keep pulling out. With the proviso that you don’t mind the style of vocals, I can confidently recommend this album to anyone who enjoys melodic and thoughtful ProgMetal.


Conclusion: 9 out of 10
ANDY READ (DPRP)

Pay heed to the siren calls! Run to the nearest antinuclear shelter!!!

       A new danger is falling down over you - and it is coming from the unsuspected Bulgaria! The name of the new menace is Pantommind, and – beware! Like a biological warfare germ it will infect your mind, turning you immediately into an addicted fan. Few times I have suffered such devastating effect – but this band really rocks! The history of Pantommind began in 1993 in the small town of Gabrovo, Bulgaria, when Pete Christ (guitars and keyboards), “Floyd“ Rossen (guitars) and some friends founded a band called "Lavender Haze". In 1995 Tony Ivan (vocals) and Drago (drums) entered the band that switched the name for Pantommind. In 1999, with Dean “the Boss” on bass, and former "Lavender Haze" member Jiip Randam as engineer and producer, the band recorded a full length demo, “Farewell”, that was reviewed first hand here at Progressiverockbr (see under “Reviews 2000”). In 2003 the band had some line-up changes: Dean and “Floyd” Rossen left, and were replaced by Dido (bass) and Peter Vichew (guitar); and SunnyX (keyboards) was admitted. With this line-up, Pantommind released the first album in 2005 - “Shade of Fate” (Lucretia Records/Sensory Records), welcomed both by public and specialized press.

       The new release – “Lunasense” (2009 - Spectastral Records, USA) brings a pounding and aggressive sonority, performed by matured and top-skilled musicians that exude the highest loyalty to True Metal. The influences are mainly from the “Golden Age” (70’s to 80’s), covering  many subgenres – from Traditional ("Black Sabbath", "Dio", "Judas Priest", "Rainbow") to Power-Speed-Thrash ("Jag Panzer", "Queensryche", "Crimson Glory", "Savatage", "Helloween", "Megadeth", "Annihilator" ); and from Black-Doom ("Mercyful Fate", "Candlemass", "Memento Mori") to the elaborated Neoclassical ("Malmsteen") and Progressive ("Rush" and "Fates Warning"). Pantommind, however, has a style of its own, standing shoulder to shoulder with other exponents of Power Progressive Metal, such as "Symphony X", "Dream Theater", "Redemption", "Evergrey", "Vanden Plas", "Psychotic Waltz", "Shadow Gallery" and "Threshold". And they deserve a place on that podium, for “Lunasense” will, from the very beginning, blow your mind out of your brains and implode the rest down to pieces of subatomic size. The album opens with the instrumental “Transmission Part 1”, followed by one of the best metal songs ever - “Erasable Tears” – unveiling the band’s style. The keyboards of Sunny X are more climatic and supportive than virtuous, and stay on the distant horizon, hovering above clouds that are pregnant of electricity, forecasting the thunderstorm that is to come. Tsunami-sized waves of guitar solos roll over, introducing the guitar duo Pete Christ and Peter Vichew, who act together with the same biomechanical precision of the jaws of a Jurassic predator. Nervous and malevolent killing riffs are molten with light-speed solos that run to meet Tony Ivan, whose high-toned voice and interpretative skills are not heard very often. On the third track - “Wolf” - Tony uses his steel-made vocal chords to rocket up his voice to unbelievable stratospheric levels, reaching the highest notes – a deed only achieved by one chosen by the Metal Gods to incarnate both Harry “The Tyrant” Conklin ("Jag Panzer") and Midnight ("Crimson Glory"). Meanwhile, the rhythm section is carried out by Drago, whose drumming is at the same time technical and “earthquaking”. The resounding bass of Pete Christ helps to fill the empty spaces. The cannonading allows a quick truce for the slower-cadenced and heavy “Sandglass” and “Letter to No One”, which rescue from the limbo that spooky mood of "Crimson Glory" and "Memento Mori". Things turn lighter on “To the Days of Old” (with guest vocalist Colleen Gray) - a progressive track that revive old "Fates Warning" (album “Awaken the Guardian”). “Transmission Part 2” is a tranquil interlude, with piano and keyboards, before “Blank” – a song like "Jag Panzer", with excellent vocals of Tony Ivan. The story-telling “My Home (Into Infinity)” approaches Pantommind to the current Power Progressive Metal of "Symphony X",  including some guitar solos that would let Michael Romeo sleepless. The album finally ends with “I’ll Never be the Same” – a dark song inspired by "Crimson Glory" that has the perfect title to describe the album’s side-effect – I will never be the same after having listened to… Pantommind.

Pantommind is Ultra-highly recommended for Progressive Metal fans and everybody else.


Marcelo Trotta (Progressive Rock & Progressive Metal E-Zine)

PANTOMMIND finally return to prove that their debut was indeed no fluke, releasing the powerful follow-up Lunasense, a CD sure to impress loyal fans as well as those who didn't check this band out the first time around. Though their debut was a solid slice of melodic progressive metal, perhaps it played things a tad safe at times, but Lunasense sees a band that is more mature, more in touch with their 'metal' sensibilities, and ready to take on the world. Sure, there are plenty of proggy bits here, but the crunch factor has been seriously increased, as the guitars of Pete Christ and Peter Vichew are heavy & chugging, complemented nicely by the symphonic keys from Sunny X. Lead vocalist Tony Ivan sounds a bit more high pitched this time around, but this style fits perfectly with these heavier numbers, as his upper register wailing soars above the bombastic arrangements on tunes like 'Wolf" and "Erasable Tears".

       Though one can expect a plethora of virtuoso passages, which are the standard of the prog-metal genre, Pantommind keep them somewhat restrained and instead go for powerful drama and intense melodies more often than excessive shredding. One of the highlights here is "Sandglass", a tune that brings to mind Dio-era Black Sabbath (or, Heaven and Hell as they are now called), Tad Morose, Psychotic Waltz, early Fates Warning, and even Candlemass, with its over the top vocals, alluring melodies, and doomy crunch o rama. A gripping piece of work if ever there was one.

       Production on Lunasense is stellar, the playing impeccable, the songs memorable yet challenging, and the packaging/artwork top notch. Add it all up and you have one of 2009's top progressive metal platters, from a band that has all the tools to go all the way to the top of the genre.


Pete Pardo, SEA OF TRANQUILITY

       PANTOMMIND is a band formed way back in 1993 in a small town in the heart of Bulgaria. It took them until 2005 before they would make themselves a name with the release of their first full-length CD ‘Shade of fate’, which is now followed up by the CD ‘Lunasense’. This album is definitely a must-have for all Progmetalfans out there.

      The band’s great high-pitched vocals of singer Tony Ivan give the sound a clear FATES WARNING approach. 10 songs are included on the new album and somehow the 2nd part of the CD holds the highlights, such as the SUPERB “To the days of old” (a midtempo Melodic Metal piece that somehow reminds me a lot of LANA LANE, thanks to the additional vocals of female singer Colleen Gray, a song that even made it to the semi-finals of Eurovision Song Contest back in 2006!), “My Home (into eternity)” and the lovely super melodic closing track “I’ll never be the same” (a semi-ballad like 80s DOKKEN meets RADAKKA’s first album meets early 90s FATES WARNING meets 80s TNT). Sort of a surprise this new PANTOMMIND, a real must-have for the Progmetalfans out there!

PANTOMMIND prend vraiment le temps de la réflexion ; quatre années séparent « Lunasense » de son prédécesseur, « Shade Of Fate », en l’occurrence leur vrai premier album, paru en 2005. PANTOMMIND peux arriver avec la tête haute car cette olympiade musicale leur réussi plutôt bien et c’est tant mieux serais-je tenté de dire, comme pour fustiger les dernières réticences (s’il en existe encore) à croire qu’en Europe de l’est, peu nombreux sont les groupes de qualité.
       « Lunasense » est moins ‘‘artisanal’’ que « Shade Of Fate », album dans lequel les sons de clavier semblants sortis d’un séquenceur bas de gamme, n’étaient pas du meilleur effet. Il est aussi plus inspiré et surtout, avec « Lunasense », PANTOMMIND s’affirme vraiment.
Aussi bizarrement que cela puisse paraitre, c’est d’ailleurs en laissant parler deux influences presque charnelles avec CRIMSON GLORY (défunt combo de Metal Mélodique tendance Progressif) et FATES WARNING, que PANTOMMIND s’est trouvé. Le groupe s’emploi ici à remanier les atmosphères construites pendant vingt ans par ses références majeures, avec une approche résolument moderne bien sûr, et surtout avec un touche qui lui est propre.
       Le grand Midnight (frontman de CRIMSON GLORY) et monsieur Ray ALDER (frontman de FATES WARNING) qui sont de mon point de vue personnel des chanteurs que j’apprécie fortement, peuvent se sentir fiers d’avoir fortement inspiré Tony IVAN, qui met un soin méticuleux en retour à nous démontrer ses capacités vocales.
Jamais dans la démonstration technique, même si son chant est complexe (et par moment si j’ose dire, de haute envolée) il n’est là que pour transmettre quelque chose, surtout cohabiter habilement avec une musique assez nuancée et Progressive. Les guitares et claviers se font souvent purs et clairs, lointains et suffisamment mélodiques pour servir de ponts, de transitions ou d’intro à quelques riffs plus musclés, construits dans la pure tradition encore une fois, d’un CRIMSON GLORY ou d’un FATES WARNING. Heavy, très propres et carrés dans la mise en place où sur ce type de plans la symbiose guitare/basse/batterie est parfaite.
Le rapprochement à faire avec ces deux formations s’arrête dorénavant là. PANTOMMIND (comme je le précisais plus haut) se grandit de sa touche personnelle.
       Entre autres, par l’utilisation de gammes mélodiques moins courantes que celles auxquelles nous avaient habitués les deux influences précitées. De ce point de vue je ferrais un rapprochement certain avec un autre combo dénommé ANUBIS GATE qui développe beaucoup les tonalités orientales. Pour deux autres raisons aussi je ferais allusion à ANUBIS GATE. Des changements de structures rythmiques plus variées, plus fouillées et un son d’ensemble restituant une petite atmosphère onirique qui me plait bien dans cette suite de dix compos. « Sandglass » est ultra représentatif de tout cela. Emotion, variations, profondeur dans l’intention des musiciens, tempo très accrocheur quand la batterie ‘‘rentre’’. Ce titre est un de mes préférés. Voilà quelques arguments de plus qui confirment le détachement dont sait faire preuve PANTOMMIND à l’égard de tous ces combos.
Avec de tels bagages, celui qui ne connait pas encore « Lunasense » se doute forcément du caractère élaboré de la musique, mais pour ce qui est de la qualité de son contenu. A ce niveau, l’auditeur désireux de se repaitre de bon Metal Progressif,  ne sera pas déçu.

Olivium Progressive-area.com

After four long years, here is the new Pantommind album, Lunasense. Finally...

       With ten tracks, Lunanse is an amazing accomplishment, as it sees the band growing into a bigger force in terms of composition and performance. It retains all the characteristics of Shade of Fate, yet also adopts a stronger guitar facade with stomping bass lines and complex drumming. Sunny X's lush, symphonic keyboard playing is still prevalant, but there is a heavier focus on the presence of razor-sharp guitars and rhythmic foundations on this album.

       Three listens of the album will suffice to prove how greatly Pantommind has increased their level of songwriting.    Rather than filling their pieces with technical prowess or sappy ballads with the occasional lead solo, the tracks are built around melodic awareness, slowly unfolding with detailed instrumentation and exquisite vocals. The band introduce their new sound with "Erasable Tears," which boasts a wicked bass, propulsive drum and guitar force, and easily ranks among the heaviest Pantommind tunes yet. Tony Ivan sounds as great as ever, and the occasional vocal effects placed on his voice lends the tune an extra dimension. As Ivan delivers the insanely catchy chorus, later repeated by guitars, and then a sick bass lead, some spoken voiceovers, and Tool-meets-Mark Zonder type of tribal drums, it is impossible to ignore how much they have evolved in terms of songwriting.

       On "Wolf," Pete Christ and Peter Vichew churn out amazing riffs and some of the most engaging guitar solos you will hear in prog metal. The merging of searing fretwork with velvety synth lines and a stury bass figure yields one of their best riffs ever. The same riff keeps cropping up in the tune, resurrecting beneath the vocals, drums, and even the instrumental break, which is dazzling itself. Again, Ivan's vocals in the very beginning are unforgettable -- how the voice can become so memorable amidst such musical density is beyond me.

       As stated before, the level of guitar playing has increased to such heights that it is hard to explain the tunes without mentioning them. On the unconventionally dark "Sandglass," where Tony Ivan's voice is right up there with gods like Dio, Tony Martin, and Rob Lowe, Pantommind venture into a Black Sabbath-like tune with progressive structuring. The acoustic guitars are dark and eerie sounding, the vocals are theatrical; almost becoming the people they are personifying, and the subdued synths solidify the atmosphere all the more with a face-rippingly heavy finale.

       However, their best has got to be the track sung by Colleen Gray, "To the Days of Old." Unlike the others, this track is very keyboard-based, allowing Sunny X to create dreamy atmospheres a la Psychotic Waltz, but there is of course a good amount of guitar crunch present in the mix as well. If the guitar solo on this tune does not move you, devastate you, crush you, then you are not breathing. It brings to mind a personal favourite, Vito Bratta, where every note has a purpose to serve. Again, the somewhat dreamy vibe of the track sees a heavy finish. Similarly, the guitar theme in the very beginning of "Blank" will leave you shaking. Ivan's more aggressive singing paired with sweeping guitar/keyboard majesty is something we would expect to hear on a Fates Warning disc in the mid-90's -- and Pantommind are great at recapturing the magic of this kind of sounds.

       The other instrumental, "Transmission Part II," is calm and peaceful, built around a neat piano figure and textural elements. It serves as a diametric opposite to its counterpart, the album opener, which is punctuated by symphonic keyboards, rolling drums, and overlays of sparkling guitar work. More of the instrumental elements shine during the break of "Letter to No One," informed by an amazing vocal part, but it is the solid unison solo between keys and guitars that is so mesmerizing, and brings to mind great passages heard on albums by bands like Sun Caged, Circus Maximus, and Andromeda.

       It is hard to follow up your debut, especially if it garnered critical acclaim pretty much everywhere in the press. But Lunasense does not disappoint. Actually, I am inclined to dub it as a stronger effort with much replay value. This is an essential prog metal release for 2009.

Murat Batmaz Sea Of Tranquility

       In 2005 I was pleasantly surprised by an album called “Shade of Fate”, created by the Bulgarian band Pantommind. I was surprised because I hadn’t expect that such an excellent prog metal album could come from a rather small metal country like Bulgaria. With that album the band delivered one of the better prog albums that year and even from the last years. Now, four years later Pantommind returns with the release of their second full-length: “Lunasense”.

       I can immediately tell you that this album pleases me as well! Pantommind shows on “Lunasense” to have grown further since their last output. In my review on that album I described big influences from legendary prog acts like Queensryche and Fates Warning. These influences still shine through on this new album, but I think Pantommind truly found a sound of their own. The great singer Tony Ivan obviously has a huge part in this with his powerful, classic clean vocals. A distinctive voice that’s not a copy from somebody else. Although I sometimes think to hear some traces from John Arch (early Fates Warning era) and even Carl Albert (ex-Vicious Rumours, RIP), but I don’t think Ivan will hate me for that.
But without music even a great singer as Tony Ivan would be nothing, so according to his fantastic performance one can conclude that the music is excellent as well. And that it is. Guitarists Peter Vichew and Pete Christ deliver some heavy riffage and often they go into battle fighting for the lead. Sometimes the guitars go into duet with the keyboards/ piano parts which make me think of Yngwie Malmsteens’s Rising Force, but then in a light and modest version, so don’t  expect an over the top ego trip here! The guitars, but also the tight and vivid rhythm section all serve the song, not the other way around. Heavy power riffs change with melodic solos and grooving arrangements. The keyboard parts create variation and I am glad the band knows to well-dose these keyboards, because normally I’m not that fond of them. Sound-samples like a church bell, the wind blowing, a violin or a wolf howling all add to attractive atmospheres.

       What I like is that this is a true prog album, but not prog in an over the top technical or complex way. Pantommind knows how to combine technical skills with attractive moods. The structures of the songs are fluent and logical what makes the songs memorable. The album grows on you and during each new spin it reveals different fresh details to you, making you hungry for some more. The production sounds great. Layered yet transparent. The artwork is very beautiful and makes this output complete.

       Yes, Pantommind grew further in those past four years and developed a sound of their own with which they should climb up many steps on the worldwide prog ladder. This will be one of the best prog albums this year. Spectastral Records just signed the band so that’s a good thing! Progpower Europe already invited the band in 2006 and unfortunately due to circumstances the band had to cancel, but I’m convinced this album should lead to another invitation on this years festival! Prog lovers check this out!

Tim Pijnenburg

       One of the best albums, in my opinion, and one that really blew me away back in 2005, was the (official) debut album by Pantommind, Shade Of Fate. This album put this Bulgarian band straight on the map in the prog metal world. Now, some four years later, I still love that album. And boy, was I thrilled when I received a message from this same band via Myspace! They had some great news: their second album was as good as ready and they asked if I was interested in reviewing this album....Well, I have to admit all the piracy, economic crises and the decreasing amount of promos kinda made me loose my joy in music. But of course given the excellent debut, I was very interested.

       So now I have it in my hands and I am sooo proud: Lunasense, the second album by Pantommind, not counting the demo release. And it blew me away! Even more than the first album. So I can already say these guys have grown and have delivered a masterpiece. It is heavy, pounding, melodic and it will suck you in from the moment you play it.

       A few things I noticed: the band is nowadays one person short: Bass player Dido is not on this album. His part is played by Pete Christ, who also plays both acoustic and electric guitars and piano. Turns out he is quite a good bass player! Secondly I find the production sounds better compared to Shade Of Fate.This time Pete Christ took the lead in the production .... is there anything this guy cannot do? Similar to the first album, the artwork on Lunasense is quite cool.

       Although I do not have the lyrics, I do find the song titles very interesting and they give an impression of the mood of the album: "Erasable Tears," "Letter To No One," "Blank" ... all a bit melancholic. Still, I do not find the music melancholic ... maybe touches. But from "Transmission Part I" (the opening track) until "I'll Never Be The Same" (you guessed it: the closing track), this album ROCKS!

       Pantommind does not waste time with introductions, already with opener "Transmission Part I" they go full throttle. Sunny X kicks of with some mellow synth sounds and a great bass, when Christ and Vichew kick in with some massive crunch! This instrumental song already demonstrates what is to come: driving melodic prog metal of the highest quality. Christ and Vichew are two amazing guitarists: powerfull riffs and melodic solos. I really want to meet the first person who will not love this. Joe Satriani: eat your heart out :)

       Then singer Tony Ivan joins in. Back in 2005 I really enjoyed his vocals and that has not changed on Lunasense. Honestly: I'd take him over James LaBrie any day! He has a very powerful voice and although he can reach these high notes, it won't hurt your ears. He adds a lot of passion and power to the songs, with his, sometimes haunting, vocals. Man, goosebumps!

       In "Erasable Tears" and "Blank," the band really goes in overdrive, with amazing pounding metal, but overall is is heavy progressive metal. Of course guitarists Christ and Vichew steal the show, but definitely take heed of the excellent and powerful drums by Drago, who is totally in sync with the bass played by Pete Christ. and the icing to the cake is Sunny X, who does not only provide some of the gear intros, but manages to blend in the music, that you almost wouldn't notice it. Mind you, I say "almost," because without him, it would sound as great as it does now.

       While writing this review, I re-read the one I wrote for Shade Of Fate and I do find a few similarities: I describe the band almost the same as back then. And again I do not have a favourite song ... I love every part of this album. The only thing that changed is the songs are different and I find Lunasense in some ways a better album. OK, maybe I am biased, but I love this band and I love this album. But only because it is soooo good! Listen to it and you will come to the same conclusion. If not, then probably metal is not your thing...

       OK, I'll go out on limb here and see if I can find something about this album that I can criticize: Hmm ... the musicians are top notch, the songs are great. Production is crystal clear and I love the artwork. Well, maybe the fact that the songs do not flow over into each other? Oh, and "Transmission Part II" is a short instrumental ... a filler track. Well, I can live with the pauses, they may even be welcome with the amount of music this great band pours out through your speakers. And that short instrumental is a very nice song and also gives you a moment of peace between all the shredding guitars. Conclusion: From start to finish a great album, period!

And if I really ... really have to mention a favourite song, it will be "Sandglass" ... listen to it and you will buy the album for sure!

       One last thing and then I will shut up: Please help preserve the music we love and buy the album! Keep in mind the musicians that worked hard in bringing you this great music, have to pay the rent too!

Marcel Haster (2009)

Four years have passed altogether since the release of the official debut album by Pantommind – “Shade of Fate”, which instantaneously marked them the leaders of the Bulgarian progressive scene. We all remember their mind-blowing concerts with prog-titans Fates Warning and heavy-classicists Helloween. The guys from Gabrovo were even invited to perform at the most prestigious festival on the continent “ProgPower Europe” in 2006. Unfortunately, some changes of members in the band interfered.

You’re probably wondering what the musicians were up to in those silent four years. I assure you, by the time you hear the first few seconds of the introductory instrumental “Transmission Part I”, the answers will come to you unobstructed – they were busy creating nothing less than the best progressive album in this geographic region. Pantommind managed to create a cast-iron, exceptionally unique sound, while their music has shifted to a new, higher level. Their music is now powered with confidence and a wider range of forms of expression. The guitars are set slightly lower, making “Lunasense” sound much heavier compared to the brilliant, even fragile at times, debut. Despite its high class, “Shade of Fate” suffered some criticism, mostly regarding its sound. Four years later things have definitely changed, and Lunasense’s flawless sound is evident. Mastering and production are the work of the band’s main creative force – multi instrumentalist Pete Christ (guitars, bass, piano). The result is a high quality sound on a top level. Get yourself a fine headset and dive into the 52-minutes long journey this CD will take you on. It would be no exaggeration to say that there isn’t a single weak moment in the album. Each of the ten songs brings its own charge and lives its own life in its own universe. Once you decide that you’re starting to find your way around it, this universe shows you new pictorial landscapes.

If you’ve heard “Shade of Fate”, there is no way you won’t be impressed by the stunning vocals of Tony Ivan. This time his voice will knock you off your feet quite like before. At times aggressive, at others surprisingly gentle, there are no secrets in the art of singing for Tony. His flawless technique is backed by the emotional depth he gets across – an absolute diamond! The cherry on the cake is the appearance of guest-singer Colleen Gray (Marcel Coenen, Persephone's Dream, etc. and webmaster of the official Fates Warning website) in the gentlest song in the album – “To the Days of Old”. The astounding synchronicity is evident in the two voices as they complete each other. From an instrumental point of view, things are on the same wave – Drago (drums), Pete Christ and Peter Vichew (guitars), take turns at tangled riff patterns with exquisite melodies and thundering drums with odd-time signatures. For example, the completely instrumental “Transmission Part II” paints fantastic worlds in 11/8 time pattern!

I will not discuss each separate piece from the album, for fear that this review might become a huge, hard-to-read material. Every one of the compositions gives the prog fan what he wants to hear, it is easy to listen to and causes a contagious desire to play it over and over again. And did I mention to amazing album artwork?

Pantommind have released an album that is a large step forward for the development of the band. The levels have now been raised much higher, although they were never low with this band. Maybe you think this review has nothing to do with an objective opinion? And you would be right, because I’m truly addicted to Pantommind’s music.


Yanni (2009)