Many call this Project Creation the Portuguese Ayreon. But lets be fair, if there are in fact many points in common, they are more so in concept and basis than musically speaking. The sci-fi concept story, the use of many layers of instruments, the careful choice of prime artist guest musicians and singers and the constant crossing of different genres and approaches to music that interact and swirl within each and between tracks are the common philosophies of both mentioned projects. But on the other hand, the music is pretty much different. The type of metal, especially on the guitar work is a tad more aggressive in PC. The distortion and flare of the guitar work is more aggressive here, when it comes to proportionate the more metallic venues. The changes between heaviness and almost new age, folk and smooth instrumental parts are much more radical here. It is interesting to notice that, for instance, many times there is a long and continuous crescendo in heaviness, until the point where the music is transformed into a really prog-metal standard while at the same time the points where the music is taken back to smoother, calmer and more instrospective and folksy music are much more sudden and abrupt.
As before, the guest musicians contribute in high scale to enrich the scope and depth of the music, especially the great sax intrusions of Paulo Chagas and the flutes and recorders of Fred Lessing, but also the guitars of Vasco Patrício aka ptRocker. And then ether is the great vocal contribution of Linx (ex-Forgotten Suns) and the greatest surprise of the album: Zara Quiroga (who also contributes to the band Miosótis), with her strong, focused and powerful voice that adds emotional landscapes to the music.

The music on Dawn on Pyther is very complex and challenging. In fact, in those terms, it is a big step in complexity when compared to the previous and opening chapter of this project. But while the calmer parts are even more beautiful and better achieved than in Floating World, the heavier parts tend to loose some focus here and there, many times due to an excess of layers that turn the music a bit confusing to get into completely and to allow the listener to get the full picture. It is perhaps the only small sin that I find in this album, and that fortunately only occasionally is to be pointed out.

Overall, Hugo Flores and his palette of great guest musicians have done it again. They have been acquiring the taste that this particular gamut of genres permit and the different ways they can combine in a graceful yet powerful way, and they have once again turned the eyes of the progressive community (especially the fringe that like the more challenging prog merged with metal adventures) to this small country of western Europe. And the great reviews that this album has been getting are all well deserved.