Moran Magal is a songwriter and multi-instrumentalist from Israel; her work comprises a vast array of musical styles, from Pop sensibilities to Progressive nuances, which is always welcomed in the mostly E-minor Metal dominated world.

From the first cut "Always Something" to the last, "Never Fade", we have tracks expertly written for piano keys (not your typical E Minor diatonic material) which it's a blessing within this black and white metal canvas. The aforementioned "Always Something" has a 6/8 time signature and a descending bass line over an elegant piano motif. With that harmonic and rhythmic foundation, you need a vocalist that delivers in a fashionable manner, and yes she does. Not only she is perfectly pitched, but her performance pace is top-notch, her voice moves through the right spots, executing the perfect intervals without compromising the song-sake. Forget about "show-off-iness" here, buddies.

"Under your bed" starts with a 7/8 tight verse, then changes tempo, key, time signature for the enchanting chorus, being the voice the sole conductor within these emotional shifting. The song lasts three minutes and has all those Prog-muso elements without sacrificing the hooks of the song. That´s what I called the QUEEN school of symphonic Pop-Rock, and proves you can deliver a complex piece with ear candy flavor.

"Win me Over" evidence some pleasant Enya influence, yet in a ballsy way, and "Tododo" reminds some of Tori Amos´s "Roosterspur Bridge" /"Mr. Bad Man." I love how this musician can merge all these sounds and get away with murder throughout in the Hard Rock scene, without sounding ambitious or forced. And the meek shall inherit the earth. "Go Dark" has a catchy almost Tim Burtonesque vibe; it will trap yourself for hours. "Black Swan" sounds majestic, Wagnerian, and again, the 6/8 time signature appears for narrative purposes, and allows that even a non-English speaker could understand what she is singing.

"Over my Shoulder" flows with Andalusian vibes at the beginning, evolving towards a symphonic crescendo at the 2:30 mark. The engineer who mixed this record knew how to set every frequency on the right spot; otherwise, it would be mayhem with the number of music layers involved. "Reality TV" has a Heavy pounding tempo (without being explicitly Metal) contrasting with operatic chants and dreamy clean passages with piano-vocals only. She is so gorgeous with the intervals she approaches out of her vocals, which makes everything so unpredictable and classy. Sweet lyrics, dry humor.

"Short Time Happiness" evolves from candid Broadway-ish tessituras to a progressive muscled groove, ending in a nasty fairytale ending. I truly loved this record; maybe my nitpicking complains here and there because of the drumming´s lack of dynamics, but from a performance and compositional point of view it is so memorable, that I give a full 10.