As one of longlasting progressive metal bands in their own country of Greece, we have SORROWFUL WINDS who were just starting to lay their foundations in 1991. The band was originally formed and founded by bass guitarist THANNIS FRAGOPOULOS and keyboard player KOSTAS RIGOPOULOS. Their long but lustrous musical path began with demos in 1994 and 1997, although 1998 also saw their first EP titled PORTRAYAL OF DARK DELIGHTS. It should be noted as well that the original lineup was different back then and has gone through many transitions over the years since their inception in 1991.

Their current lineup includes singer MICHAEL IOSIFIDIS aka MIKE I., guitarist THANNIS HATZIAGAPIS aka THAN, bassist/keyboard player TASOS IOSIFIDIS aka T. IOS and drummer  COSTAS EXARHAKOS aka KOSTAS X. Before the new lineup was complete, there were two albums in 1999, THE IMMINENT ARRIVAL and in 2001, THE AGE OF DREAMS. After a long break they made their return to music, with a new album NON ALIGNED in 2014, which of course was 13 years since their previous album.

Now after another 8 years, they are here back in the midst of what has been 30 years since the band's formation. Their new album titled DENY REALITY is now officially out this month through Steel Gallery Records and it begins with the title track, "Deny Reality". The intro track is full of progressive elements as the vocals are shrieking at times but they make worthy contributions. The bass guitar provides the tone and underbelly of the track, bringing out the talent or musical capabilities of this band.

The vocals and rhythm also represent the power rock elements of the bands, as vocals triumph over all other instruments with subtle guitar playing. "Silence In The Morning" which is big and heavy with bass guitar giving more depth and warmth. Bass guitar does correlate with drums projecting all the lower frequencies in the second track. Mellow guitar and keyboard play a short dialogue before vocals and drums rejoin with almighty force. Drums play such soloistic patterns and beats to create the transition into the next track.

"Time Pills 06.04" has more sustained guitar at first but then rhythm picks up as drums do. Vocals vary in their approach as they seem more cunning as drums play more dynamically with contrast too. Guitar, keyboard and drums are in full throttle with their own section before they pull back. So gentle now with keys, vocals and drums but this is leading into the next track titled "To Slay The Last One". The fourth track has a more settled musical direction with drums firing clarified beats and cymbal hits gather blossoms.

Vocals take on two parts here with one vocal line higher in range and the second is more lower but both together are very effective. We can also hear hints of double kick patterns as drums become very creative and forthcoming. "Ocean Drown Me" has a lot to offer with drums and electric guitar sharing the lead role but vocals cut through the mix with majestic continuity, high in pitch. Even two vocal parts can be heard, possibly overdubs as the words are the same before drums and guitar have another section to themselves with bass guitar too.

The rhythm and strife of electric guitar is present in the mix as we head into the next track which is track six. "Satan's Heart" perhaps not literally as the song title suggests, but very much the true progressive style as we have heard so much of. Electric guitar is wild and ecstatic as vocala are true to its call for awesome glory and power rock urging the listener to throw their fist up in the air. Guitar and drums carry on as vocala also come into the narrative where guitar replicates the high vocal pitch.

Keys are also featured at the end as a surprise slowly descending as we go into the next track which is track seven. "Quite Evil" simply has similar vocals as before as a full unison is dominant but keys also contribute more to the mix. Guitar and vocals lead the instrumentation as there is so much tone and textures being created here. Vocals do take a step back for some time but return to play out the closing outro to set us up for the penultimate track which is "3 Years Old". Here there is more of a consistent percussive intro then vocals or guitar are very much the melody of this track.

The guitar hooks and solos are simply spectacular yet stunning too. Tempo varies as well as the track points in the direction of the last track to close the album. "Gone" where keys and guitar are beautifully orchestrated as well even drums has some varied marching rhythms. Keys as bass guitar take the tone and blend it well with progressive drums plus lead guitar. We can hear the end is in sight as keys play a hint of darker tone and a drop in instrumentation for keys to end the album with string sounds and harmonic bliss, piano clash to finish.Overall: 8