From Bandcamp, "During their 15 years of existence, they have navigated the confluence of post-rock, post-metal, neoclassical music and progressive rock, standing out in the broad alternative music scene with their extensive use of the piano. The nine-track, 50-minute concept album titled "Pinocchio" revisits the world-famous initiatory tale of Pinocchio through the dark and violent lens of betrayal and power struggles. "This really feels like WE STOOD LIKE KINGS 2.0, while remaining unequivocally us. It might very well be the record we've always wanted to make", says pianist Judith Hoorens. The band often transforms live shows into immersive cinematic experiences, bridging two mediums into a shared emotional language while shifting seamlessly between delicate minimalism and explosive crescendos, refusing to settle into predictability and letting each note resonate like a visual memory."

The album has nine songs, and "Assassins" is first. Gentle piano notes open the song, but I was not ready for the heavy drop of the riff. It marches forward with all of the certainty and purpose of a killer contracted to end someone. Although there are no vocals to latch onto, you get an immediate sense of haste. "The Field of Wonders" enters slowly, as if you are waking from a dream, and are offered the visual a little at a time. It's one of the best ways the band can build anticipation. Their sense of timing, and melody is spot on so far. Piano augments guitar, and by contrast, you can feel the heavier passages with each thrust. "Fire Eater" has passages that breathe, amidst heavy, Djent tones in the guitars. The piano work is excellent once again, as it transforms from gentle to magnanimous.

Ravens are actually quite smart, and have represented complex concepts like transformation, prophecy, and death. The song "Raven" slips quietly out of the gate and begins to build with layers. There is tension hanging here in the air that is as thick as pea soup, and I am on the edge of my seat. The crescendo that builds is massive, and with a final breath, you can rest easy once again. "Poor Idiot" has a darker and more dangerous sound, from a riff that fills the room like an engine running indoors. Piano and guitar combine with synths to create a sturdy sound that can't be broken up. "The Land of Toys" has a sound that can best be described as ambient, and the band uses passages of quiet sound along the way. There are also alternating strong passages and again the contrast between the two is what makes the album as vital as it is.

"Dead Blue Fairy" has urgent tones, as if the situation suddenly turned into an emergency. A bed of heavy, chugging guitars holds down the bottom end it rises and retreats a few times, owning that sense of urgency. "Addios, False Friends" is the final song. For me, it's like the first glimpse of a world that has died. At the same time, it's a story about the power of resolve, and the human spirit. Those of you who know me and have read my reviews probably understand one of the biggest tenants I have when it comes to instrumental music: That is, bands have to work harder in their approach because there are no vocals or lyrics to guide them like a hand they can hold into. You have to feel the music. Here, you will easily feel it all. They balance melody with aggression and the ebb and flow of the music is assimilated like the tides would be to a surfer. Literally oozing with emotion, it's one of the finer instrumental albums I have heard this year.