From their website, “In 2003, Michael Lenz wrote four musical compositions influenced by the dark and endless atmosphere of Herman Hesse's poem "In the Mist.” These expressions as a form were transferred into the sound of music. After several sessions, drummer Dmitry Mazmanov joined the band at the end of 2005. Keyboardist Helen Chobanyan joined in May 2006 and vocalist Vasil Doiashvili in June of the same year. The band began arranging and writing additional material. Later work turned into the first album. New members joined the band, guitarist Grigol Lobjanidze and drummer Tim Lomidze.

For the next three years the band concentrated mainly on live performances, but continued to work on new album material. Recording sessions for the second album failed several times due to personal and technical problems, causing Tim, Sergiy and later Vasil to leave the band. Drummer Nick Rukhadze joined the band in 2014, and together with Grigol and Michael, they started to rearrange the songs from the second album to fit the new material album to suit the material along with refreshed playability and new perspectives. During this period Michael learned sound engineering techniques, later in March 2016 the band released first single. In December 2016 the drums for the second album were professionally recorded.”

The album has ten songs, and “Prolog” is first…a short, piano led instrumental, with dark and somber leanings, segueing into “Where Horizon Starts.” It sounds mostly like Death Metal to me, although there are some light symphonic elements as well. The clean vocals are just a little pitchy. “Life” has a heartier and perhaps more hasty sound, but there is just a bit of a disconnect with the vocals…especially the cleans. “Smiling Faces” has harder and even more angled edges, but again, at the point where the clean vocals enter, the song loses any steam it might be gathering. I would honestly get rid of them…there are other ways to inject some diversity into the music.

“When Day Comes After Night” has clean, somber tones, and gone are the aggressive ones. This is the kind of diversity I am talking about. “Corridors of Insanity” is another that has clean, somber tones out of the gate, but it soon spirals down and down. It isn’t bad, per se, but it just lacks some clean energy an some cohesion. “Inside Out” has a slow grind, and some of the symphonic elements just sound overly programmed to me. The riff is a bit stale as well. “Desolation” closes the album, and again, the programmed elements stand out to much. I think it’s safe to say that the album was a bit of a disappointment for me, but like any album, you should listen to it with an open mind and decide for yourself.