Richard Andersson’s Space Odyssey makes an eagerly awaited return with this their second album ‘The Astral Episode’. Andersson who is also known for his other projects (Time Requiem and Majestic) is undeniably the world’s best metal keyboard player. As mentioned in my previous reviews of Andersson’s work this guy is the Yngwie of the keyboard empire, and yet despite undeniable composition and performance skills Andersson also has the best keyboard tone in metal – period.

The Astral Episode sees Andersson hook up with the core members of the Space Odyssey debut, Embrace The Galaxy – that being Magnus Nilsson (guitar) and Patrik Johansson (vocals – also in Astral Doors). Bass work on the bands last album was done by Marcel Jacob, this time Magnus Nilsson has done the bass in addition to his blazing guitar tracks. Andersson has explained the switch as. “Since Magnus already recorded the guitars he could fill in the bass in a very satisfying way”, and indeed the gamble has paid off. Finally this leaves us with the bands new drummer, 17 year old powerhouse Andreas Brobjer whose young years belie his talent….this guy is probably the best drummer I have heard since Mike Portnoy.

Sonically speaking the album has a raw in-your-face sound with guitar panned left, keyboards panned right. This stripped down sound works well with the raw passionate music on display throughout the 8 tracks.

Opener Through Dreams & Reality makes a potent statement of intent as to what the album is all about. The intro builds from a fast keyboard motif to a euphoric climax before the track gets into its groove with killer aplomb 90 seconds in. The interplay between Andersson, Nilsson and Brobjer throughout is nothing short of sublime and is a stunning foundation over which Johansson vocals can soar, a killer opener.

Astral Episode starts of with a haunting movie-score in feel intro before a prog-tinged odd time signature sees the tension grow – this is all wonderfully orchestrated by Andersson. The power builds slowly through several progressions before hitting an even keel with a feel reminiscent of Dream Theater circa. Images & Words. Johansson double tracks his vocals to good effect in places before a classic chorus sees the track move into neo-classical power metal waters. The double bass work by Brobjer is stunning whilst the slow mid section with vocals is comparable with prime David Coverdale. This leads to a melodic solo from Nilsson before more complex instrumental interplay between Andersson, Nilsson and Brobjer allows the track to move back into some scorching guitar/keyboard duels. Anyone craving the kind of interplay you used to get from Malmsteen and Jens Johansson will find this a joy. From here the track moves back to the chorus which sees the track out.

Lord Of The Winds is to these ears almost a cousin to ‘Requiem For A Dream’ from the debut Space Odyssey album. A quick opening which sees Nilsson blazing leads to a Tony Martin era Black Sabbath feel for the verse before leading to the ultra melodic and incredibly catchy chorus (which Ronnie Dio would probably kill to own). Johansson’s vocals here are dazzling – full of power and texture and the epic pomp of Andersson’s keyboard underpin it perfectly. This is surely a contender for song of the year. Just when you think the track can get no better it leads into an ultra powerful riff which leads to a superb solo duel from Andersson and Nilsson. The airy production really makes the most of the warm tone Andersson gets from his keys.


Dazzle The Devil is quite possibly one of Andersson’s best compositions to date. Combining the neo-classical overtones of prime Malmsteen and the melodic charms of Dio this is a powerhouse slice of metal. Once again the musicianship is of the very highest calibre and the actual track has the perfect balance of songmanship and virtuoso musicality. The chorus has a great classical keyboard motif under the pounding guitars and drums whilst t vocals are once again stunning. If you thought Andersson was on top of his game solo wise on Lord Of The Winds this is upped by Andersson’s display here. His solo starts out with a brief flurry of notes before holding a single note teasing the listener before some pitch wheel inflections milk the note a little more before an incredible crescendo of notes pours forth. Nilsson rises to the challenge with some gutsy string bending and ascending licks. The mantle is then passed back and forth between the pair each daring the other to go to the next level. On cue the chorus cuts back in before a delicate outro and simple keyboard chords giving Nilsson the chance to play some beautiful classical lines showcasing his superb vibrato.

Back To The Dark sees a darker slower tempo enter the arena – not too dissimilar to some of the gothic works on Malmsteen’s War To End All Wars or the timbres of the debut Time Requiem album. The track is home to another great chorus which at the end of sees some scorching lead work from Nilsson. Midway through we get a more melodic slant which leads into a very melodic solo from Andersson making great use of the pitch wheel before the chorus kicks back in.

The tempo picks back up for the instrumental Presence Of Mind which has some strong neo-classical overtones. The interplay is again impressive between all band members and shows how tight the band is.

Reversation is a complex arrangement with various musical parts all adding up to a heavyweight contender for highlight of the album. The track initially builds from a pulsating tempo with harmonised guitar parts which grows into a great verse which sees a very original vocal melody line from Johansson. The pre-chorus is excellent mainly made by the super catchy guitar lick before the chorus takes things up another notch. Nilsson throws in a great solo reminiscent of early Malmsteen which really suits the track.

Album closer The Seventh Star Fantasy is a track that is quite different in feel to the rest of the album. The track begins with some very calming and atmospheric keyboard work that is then broken by the invasion of something more haunting and sinister in the form of a great evil riff which is orchestrated upon and sounds phenomenal. The track then jumps back to the initial landscape of calm with a folksy Jethro Tull feel verse which moves into a progressive Rush waters before going back to the evil riff…the transition is seamless and works extremely well. The track then travels onto even more impressive territory for the guitar solo where the execution from Magnus Nilsson is again flawless. The track ends back in the dark riff timbres of the chorus and ends the album on a high.

The Astral Episode is pretty much flawless from start to finish. There is not one weak track here and all are as good as I have heard from Richard Andersson on any project he has been involved in. The band members work together flawlessly and the interplay between Andersson and Nilsson runs from the spectacular to the haunting to beautiful to sublime. Often when the music is this strong the vocals become redundant, yet it’s to the bands credit that Johansson’s vocals are the icing on the cake with their raw Dio-esque delivery. Quite simply there is nothing to not recommend on this release so make this one of your must buy albums of 2005 – stunning.