DRAINBOW is the brainchild of Nicholas Sarcophagus, a multi-instrumentalist and composer currently residing in Austin Texas. Mr. Sarcophagus arose from the hollers and backwoods of Appalachia and learned his craft in the rehearsal rooms and weird streets of West Baltimore. He developed and honed his rock and roll drinking problems in Athens, Georgia. "The Tower of Flints" contains seven tracks.

"Funeral for an Imaginary Rabbit" leads off the album. It opens with spacy keys, some eerie laughter, and organ notes. From there, some ominous tones build as the laughter continues. Muted spoken words muddy up the sound. When the vocals come in, it's obvious that this is some strange and unique music. A heavy dissonance is also present, and the song seems to lack a central structure. The vocals turn angrier, to shouts and screams. This music is odd even for a guy who gravitates towards the unusual. "Lair of the Night Gaunt" opens with light, dancing bass guitars and clean guitars. The vocals venture to areas unknown, and there is only a light connection to the music. Labeled as Black Metal, the Progressive elements mainly come from the ever-shifting meter. This is controlled chaos at best.

"The Inevitable Tautology of Defeat" is another unusual song. Opening with some eerie electronica, the scale progressions are very unique. The vocals here are harsh and harrowing, as the title suggests. The clean vocals bring another element to the table. But the music is dark and despondent. "Fourth Rider" is a short, two-and-a-half-minute song. Dark tones hang in the background, with just a few clean guitar notes at first. Whispered vocals enter, along with bass guitar. That eeriness cannot be downplayed...it's everywhere.

"The Death Owl in the Tower of Flints" is another lengthy song. Opening with birds singing and clean, doleful guitars, the vocals begin as spoken words. This song sticks with clean vocals mostly but again, those chord progressions are just weird. "Callipygian Hunger" is an over eleven-minute beast. Opening with some ambient atmosphere and solemn vocals, it sort of reminds of me of "desert music." Lead guitar notes occupy much of the song, complete with harsh vocals at times. Again, this is odd music. "Worm Invasion" closes the album. It's four minutes of angry, fast music, led by a heavy charge of guitars and harsh vocals.

Overall, this was very strange music, which is impossible to label. At times it was free-flowing, and other times quite angry, but it's the structure I marvel at most. How was Nicholas able to keep a semblance of order when creating and performing the tracks here is quite noteworthy. However, I am totally not sure what kind of audience would like to hear this album, except for people who like their music without genre labels and so far off the beaten path, you are totally lost in the forest.