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Review: The Space Octopus – Tomorrow We’ll Be Gone

by Miloš Šebalj

 

The Space Octopus – Tomorrow We’ll Be Gone

1. Go On!
2. Our Time Is Running Out
3. This Is The Last Time I’ll Feel
4. Tomorrow We’ll Be Gone
5. Closer
6. Only The Brightest Star
7. To Die For The Outside
8. Paralyzed
9. Involved
10. Pause
11. React

Label: Art Gates Records
Date: May 29, 2020

What a name! I mean, it is one thing to be tripping (on Lovecraft?), but a completely different to name your band while at it. The logo as well! Falls completely out of place. Luckily, it was saved by the mighty fine cover artwork. Ominous prophecies like that one are slowly coming to reality and it is good to see musicians standing behind the fight against it.

Aside of the mentioned, this is a pretty good album. And no, it is not a stoner one. In fact, The Space Octopus is a project of three virtuoso’s from Spain. Now you know what to expect. Progressive and experimental music, for sure. Yet, not quite.

The Space Octopus is certainly into progressive spheres. Be they wrapped into rock or heavy metal. It is very much obvious they are very skillful musicians. The best part is that they are highly skilled composers too. Their songs do not revolve around the endless and useless technical masteries. The songs are fairly straight forward and have their natural flow built to perfection. Dream Theater is one of the names that stands out on the list of influences. Mostly in the sound of guitars. Though some mellower parts bear connotations with Pink Floyd, too. Hence, you do not get an easy task to file them under a certain genre. Not that it matters that much anyway. Furthermore, The Space Octopus are definitely well versed in the contemporary world of music. Some of the acoustic passages reminded me of Staind. Weird, I know, but it works! Also, on “To Die For The Outside” there is vocal moment that took me straight to David Draiman of Disturbed fame. Speaking of the vocals, they are the weakest link here. I would like a lot more emotion pumped into the microphone. The topics are very much turned towards the environment, failure of mankind and similar important subjects. The voice proclaiming such messages needs to provoke a reaction. And I’m just not feeling it. Perhaps it would be a good idea to seek for a vocalist instead of a guitar player dealing with it on top of the very demanding guitar work.

“Tomorrow We’ll Be Gone” is already the fifth full length by the band, so I guess they are quite comfortable with the sound they create. I am too. The matter of vocals is surely one that is the easiest to fix, even if the band is already firm on its path. Other than that, there’s really not that much to complain. Fans of progressive and technical tendencies in music will surely be satisfied. So will the people who have grown up on the early sounds of 21st century.

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