Reviewed by Nuno on 21 Mar 2006

Overall, this may well be considered yet another wet dream for the most dedicated fans of the purest form of Symphonic Progressive Rock done with 70’s processes and notable leanings. It is an album that clocks around 4 hours of swirling and rich symphonic textures, and each band delivers their own view upon the classic ways of constructing a long and epic 70’s alike track.
Perhaps due to the “obligatoriety” of constructing such long tracks, and also perhaps because of the specific concept and time to do it in order to be released in this cd, some bands seem to have been pushing some collages and “forced” twists in their tracks. Yet this is nothing more than a slight setback when compared to the fact there are great musical moments and swell journeys in this album. And those ingenious musical trips do highly compensate the less achieved moments, and I have no doubt that the sympho lover will still regard this album as a major release.

Canadian Nathan Mahl opens the 1st cd with an all instrumental track, with a rich rhythmic section that serves as base to a more keyboard/guitar oriented track. The band does not strive to escape from the general style that they have been showing in their studio albums, so the knowledgeable listener will know what to expect from them.
Nexus is one of my favorite Argentinean bands, with their mature musicality, pretty much based on the leanings of the 70’s masters Genesis, Yes, ELP and Eloy, and with great female vocals. Here they deliver a 27+ minute track that not only present all those influences but that also tries to incorporate some slightly heavier guitar on the background and loads of tempo and direction changes. There is an evident keyboard driven musicality that drives them closer to the ELP influences than ever before (the first 7 minutes, and huge parts of the rest of the track are all about that). The singing is in Spanish and delivered by male vocals (this is a major setback for this band, as the prior female vocals were of such high quality…).
The American Glass Hammer are equal to themselves here. The female vocals are really great, and the track has some real great melodies especially when delivered by the piano. This track could easily be featured in this bands latest 3 albums, as it presents all the characteristics that are usually associated to this band. It is probably one of the best tracks in the album, yet does not seem to perfectly (in musical scope) portray the concept of this cd set, as the epic idea of the Odyssey is not, imo, to be found here.

The second cd is unveiled starting with a XII Alfonso track. As one of the most experimentalist symphonic prog contemporary French bands, that excellent virtue is differently recognizable here, as they have chosen to concentrate on delivering an Epic sounding filled with strange experimentation. This comes to show their intelligence and will to respect the true conceptuality of this album by creating real soundtracks to the section of the story they are participating in. There are choruses and a kind of spacey anthem that comes close to a twisted interpretation of something Pink Floyd could have made in their Meddle era. There are strange approaches when portraying the land of Death. There are folksy intrusions and slightly neo-classic textures, all mixed up in a very disturbing and innovative way. This is, to me, the best track of the 9 that compose this cd.
Swedish Simon Says comes next, delivering a track that is also very faithful to their chosen style: contemporary symphonic prog in the vein of The Flower Kings, with bombastic keys and emotionalized interpretations, guitar soloing and constant changes in pace and direction. I confess I am not that fond of the male vocals in this specific track, and even on great part of its instrumentalization. But maybe it’s just me…
C.A.P. closes the second album. They have the longest track in the whole 3cd set. Their style is truly evident: classic Italian symphonic progressive, with some neo-prog tendencies. This is a competent and interesting track, in the exact vein of their “Il Bianco Regno Di Dooah” album. The vocals are excellent, with plenty of emotion, and the instrumental parts have flair and swell twists. To be discovered with a smile on your lips!

Venezuelan Tempano has adopted a sort of Excalibur’s Merlin phrasing opening, quickly transformed into a neo-prog melodic lining that comes close to French band “Seven Reizh”, then “Overhead” and then their own “The agony and the ecstasy” soundings mixing complex symphonic prog with neo-prog alike guitar soloing and melodic parts. The eerie magicians conjuring are approached from time to time during the track, adding some drama to it. Overall this is an interesting track with a very contemporary approach and, again, lots of changes in direction and stylings.
Minimum Vital is, as all know, a legendary French band known for their incorporation of medieval and folk tendencies inside a symphonic prog shell. That is exactly what they do with their track in this album. As expected, the sparkling of folk textures and medieval layers is successfully done, though in slightly less quantities than what they use to do in their studio albums. The focus here is mainly on the keyboard adventurous playing and guitar soloing, which are very competent and focused. Curiously, this has also become one of my favorite tracks (it seems I am in a French Prog phase…).
Brazilian Aether closes the 3 cd set with a track that mixes some typical South American Sympho approaches with Anglo-Saxon 70’s leanings, especially those of Camel and UK. As usual they sing in English, though they tend to keep the majority of the time on an instrumental journey, creating atmospheres (though not in a new age fashion) and moods.

For the common symphonic progressive fan, this album will surely be a great add to their collection. This album is all about that: a sympho feast of epic proportions.