/Synth rock, Fusion, Mood music, Experimental, Progressive rock, RIO, Electronic, Art rock/
one of the main questions being relevant to the context is how Mihkel Kleis`
14-track album differentiates from the outings of the musician`s previous (in
fact, still ongoing) projects (Luarvik Luarvik, EDASI). After listening to the
album many times in a row it can be admitted the effort is entirely justified
because there are represented interesting sonic variations and viable
developments in harmonies and mood. Obviously more electronic devices and
programmed means are exploited to foster the rhythmic section. In general,
it brings forth lots of warm, affable tones to depict the issue as a moody one.
On the other side, there are up some more tumultuous moments and “deviated”
compositions to extend beyond the aforementioned common vamp. For instance, Using Mirrors in Chess is a
philosophical yet amusing storytelling by Peeter Sauter about the human being`s motivational package, chances to exist after his/her death and the God`s…aesthetical abilities being accompanied by
synthesiser fuelled spaced-out meandering threads. Ultimately one can concede
that Mihkel Kleis still continues to trudge across electronic/fusion/progressive/art
rock pathways with more or less hearable dodges in mood and form, however,
which used to result in a downrightly poignant whole once again. In fact, it is still as up-to-date as it was 12 years ago.