GRORR was created in 2005 in Pau (France). Its music mixes Progressive/Math/Rock/Metal featuring the use of traditional instruments from all around the world, all crafted within concept albums. GRORR surprises and gathers both organic and powerful music imprinted with various atmospheres. In 2020, GRORR makes a big comeback with two releases: a two-track opus as appetizers, featuring its traditional stop motion video clip; and a long-play called "Ddulden's Last Flight" as the main course, a new concept album paying homage to the classics of adventure movies' original soundtracks.

"Ddulden's Dreams Beyond the Peak" opens the album. It's a short, mood-setting instrumental that features sitar, and some background ambiance. It segues into "Sky High," which opens with low vocals and some steady guitars and bass that gradually pick up with heaviness. Some nice melodies develop amidst the chugging guitar work. "Hit the Ground" begins with more of the sitar. It stays low in the register when it comes to sonority. There is very little going on for much of the song. "Siren's Call" opens with staccato guitar strikes. Franck's vocals are mostly low...akin to Layne Staley for me. He stretches out just a bit in the chorus. It begins to build to a crescendo towards the end.

Seguing into the short "Ddulden Flies to His Fate," which is one minute of soft music. "Blackened Rain" begins with the soft notes of the previous track. The bass and sitar begin a dance just after the half-way mark, joined by more of those chugging guitars. "Newborn Whirlwind" opens with a slow groove of sitar and bass guitar notes. Some smoot melodies develop as the song moves forward. It gradually gets heavier, building with layers towards the end. "Last Flight" is a seven-minute song. Opening with whispered words and some long held vocal notes. The guitars come at you in attack mode. They build throughout the song, increasing in sonority. Some spoken words lead to more of the Math sound in the guitars.

"Organ Lao" is the first of two bonus tracks, beginning with more of the sitar notes. It has a smooth, proggy sound with some more chugging guitars. Turning angry. The vocals begin to morph to heavier screams. "The Painter" closes the album. It opens with instrumental notes that I am unsure what they are exactly, but it sounds like xylophone to me. Flute joins in for a moment, along with some light cymbal and drum notes. The heavy guitar strikes come next, along with semi-harsh vocals.

Overall, I liked the album, but I feel a little more dynamism could improve the sound. Many of the tracks features the guitars in the same manner from one to the next, and sometimes the sound was just a bit too soft for me. The melodies they develop are subtle, and seem to take a back seat to the heavy chugging guitars. It was interesting enough for me to want to hear more from them, so hopefully they can address a few of the issues mentioned here for their next release.