Coming in with keyboard-type sounds, this drives out with more guitar-oriented things that bring a real fusion sound to the table, but it’s almost metallic, too. Piano gets to show off on a mellower, dropped back movement further down the road. There are some pretty trippy elements that emerge as this continues to evolve.

With some particularly expressive guitar work and rubbery bass sounds, this is more pure fusion. It’s a powerhouse cut that works really well. As strong and dramatic as the opener was, I think the somewhat more accessible nature of this one makes it stand taller. The bass solo later is on fire, too.

Mysterious sounding and quite intriguing as it gets underway, this has a great balance between mellower and louder stuff. The percussion showcase early is intriguing, and this has a real instrumental prog vibe ala Bruford Levin Upper Extremities and Liquid Tension Experiment. There is a rather noisy, crazed buildup near the end that gives way to a trippier closing.

Rising up with more of the guitar driven, freaky fusion-styled sounds we heard on the previous cut, the percussion really takes over for a while with only minor accompaniment. This has a more stripped back vibe in some ways, not really rising to the heights of some of the rest of the music here. There is still a lot of intriguing sound here. A bass solo section is particularly intriguing.

There is a dark, almost creepy horror movie soundtrack element as this gets underway. The track builds on that concept in intriguing ways. This has some cool shifts and changes. It’s actually a unique number that has some really interesting stuff built into it. This is quite the ride.

This comes in tentative with guitar type sound creating lines of sound. This eventually evolves into more of the kind of fusion we expect from the album by this point. This is creative and entertaining, but not a huge change. I dig the piano work on it a lot. There are also some moments where the bass really shines, and we get a percussion showcase.

I dig the driving, rising vibe on this quite a bit. The piano really paints some killer melodies. In fact, this might the real piano showcase number. That’s not to say that other instruments don’t get a chance to shine. It’s just that the piano really stands out.

There is a cool, spacey, trippy quality to this number. It works through some variants and stands apart from the rest here in some ways. It has more atmospheric angles to some degree. It does drive upward later, though. The bass work is again a big part of that.

While this isn’t a big change from the rest of the album, the energy and sometimes soaring nature make it an intriguing entry on the disc. I really dig some of the synthesizer type jamming on this. The whole track gets pretty intense before it’s over.

More of the same kind of sounds we’ve heard throughout are on the menu here, but the track isn’t redundant or samey. There are some killer moments built into this. Again, it’s not any kind of a paradigm shift, but it’s a very effective piece of music on a disc full of great sounds. The bass led section is cool. When the piano takes over for a time it leads to a more pure prog rock movement that gives way to more of the familiar fusion-styled stuff. It drops to more atmospheric territory from there, and the percussion gets to show off for a time.