Blind Illusion

06. Blind Illusion Official (USA) – The sane asylum
I’m not sure I got the right words to describe this record of outstanding artistry, skill, atmosphere and inspiration. I’m not even sure the proper words to describe this even exist. So I quote some guy from youtube because he kinda nailed it with a simple sentence. “A strange brew of influences and quirky time changes, weird song structures and solo sounds, wrapped up in a technical thrash format”. This is an exceptional record of unparalleled importance not only for thrash metal but for metal in general. This is the record that sparked the existence of the whole modern progressive metal scene. CYNIC, TOOL, OPETH and other such bands, they all exist because of this brilliant debut which also happens to be one of thrash metal’s criminaly underated. Is there any musician out there that don’t bow before this masterpiece? Only the ones that are not aware of it’s existence. Well, the time has come for you to listen, absorb and immitate cause it’s more than worth it.
https://www.metal-archives.com/bands/Blind_Illusion/684 - Wordpress.com

Blind Illusion dürften den meisten von Euch aufgrund zweier veröffentlichter Demos und ihrem Beitrag zum "US-Speedcore Invasion" -Sampler ein Begriff sein. Mit "The Sane Asylum" legt das kalifornische Quartett nun sein Debüt Album vor, das meine Erwartungen allerdings nicht vollständig erfüllen kann. Zwar steht das Songmaterial, das durch Jazzeinflüsse geprägt wird, weit über dem Durchschnittseinerlei anderer Thrash Bands, aber die superkorrekte bzw. supercoole Produktion der Scheibe nimmt der Band doch einiges an Agressivität. Andererseits ist "The Sane Asylum" jedoch auch vielleicht grade wegen dieser etwas fremdartigen Produktion eine der atmosphärischten Platten (am ehesten wohl mit dem Sacred Blade Debut zu vergleichen) seit langem geworden. Wie gesagt, das Album ist wahrscheinlich nicht Jedermanns Sache, aber aufgrund der technischen Fähigkeiten des Quartetts und anspruchsvollen Songs wie "Blood Shower, "Smash The Crystal" (beide vom zweiten Demo) oder "Metamorphosis Of A Monster" steht von meiner Seite einer 8,5 nichts im Wege.

Blind Illusion should be familiar to most of you because of two released demos and their contribution to the US Speedcore Invasion sampler. With "The Sane Asylum" the Californian Quartet is now releasing their debut album, which does not live up to my expectations. Although the song material, which is characterized by Jazzeinflüsse, is far above the average of other Thrash bands, but the superkorrekte or supercool production of the disc takes the band a bit of aggressiveness. On the other hand, "The Sane Asylum" may have been one of those atmospheric albums (most likely to be compared to the Sacred Blade debut) for such a strange production. As I said, the album is probably not for everyone, but due to the quartet's technical abilities and sophisticated songs like "Blood Shower", "Smash The Crystal" (both from the second demo) or "Metamorphosis Of A Monster" I have an 8 , 5 nothing in the way. - Rock Hard Magazine Germany

BLIND ILLUSION hatten vergangenes Jahr beim Headbanger´s Open Air im hohen Norden den Auftritt des Wochenendes hingelegt. Klarer Fall, dass Catweazle-Cousin Mark Biedermann mit seinem Prog-Thrash-Solitär früher oder später auch in Königshofen aufschlagen würde. 45 Minuten lang demonstrieren Co-Gitarrist Doug Piercy (ex-Heathen), Drummer Erik Cruze, Bass-Virtuose Tom Gears und der kauzige Meister himself an Gitarre und Gesangsmikro, wie zeitlos-vertrackter Thrash zu klingen hat. Auch das grandiose ´Vengeance Is Mine´ ist dieses Mal im Programm. Leider verkneift sich Biedermann anders als auf dem HOA seine Kung-Fu-Yoga-Moves, auch die Biebermütze wurde durch ein schlichtes Kopftuch ersetzt. Technisch ist die Darbietung konkurrenzlos gut. Anacrusis, Toxik, Militia, Watchtower – in diese edle KIT-Phalanx dürfen sich nun auch Blind Illusion einreihen. (lk)
Ein absolutes Highlight des heutigen Festivaltages sind


BLIND ILLUSION had participated in last year’s Headbanger’s Open Air in the far north and played the best show of the weekend. Clear case that Catweazle-Cousin Mark Biedermann with his Prog-Thrash solitaire would sooner or later show up in Königshofen. For 45 minutes, co-guitarist Doug Piercy (ex-Heathen), drummer Erik Cruze, bass virtuoso Tom Gears and the strange master himself on guitar and vocal mic gave a impressive lesson in ageless progressive Thrash Metal. Even the grandiose ‘Vengeance Is Mine’ is on the program this time. Unfortunately Biedermann, unlike at the HOA, didn’t perform his Kung-fu Yoga moves, and also the beaver cap was replaced by a simple headscarf. Technically, the performance is unrivalled good. Anacrusis, Toxic, Militia, Watchtower - this noble KIT phalanx is now best company to Blind Illusion. (lk) - Rock Hard Magazine Germany

s many of you may already know, the Bay area was home to many classic thrash bands in the 80's. Testament, Exodus, Heathen, Forbidden, and Vio-lence were already becoming big names within the thrash metal genre. At that time though, there was one unique band that was looked over and ignored. This band had ex-Possessed and Blizzard guitarist Larry LaLonde, Blizzard drummer Mike Miner, lead vocalist/guitarist Mark Biedermann, and bass virtuoso Les Claypool. This band was Blind Illusion. Blind Illusion had this one of a kind sound, they were like a mix of King Crimson, Possessed, Exodus, and Metallica. They released the classic "The Sane Asylum" on Combat Records in 1988, which I'll be reviewing here...

The title track opens the album, it's quite short though, and it serves as an intro rather than an actual song. "Blood Shower" is a classic thrasher with incredible riffs and some great vocals courtesy of Biedermann. Biedermann has a very aggressive edge to his vocals. He goes from yells to deep growling vocals (not like death metal, more like a low voice). He does a excellent job here. "Vengeance Is Mine" is about the war on oil which was going on during this particular time period. This is the thrashiest song on the album, with some awesome lyrics to go along with it...

"Blood is thicker than water,
Land is worth more than gold,
Oil leads man to the slaughter,
Greed will eat at your soul!"

This is overall another killer track! Next up is the album's epic 7 minute "Death Noise" which is the main highlight. Larry LaLonde's best work of his career is right here. Larry has always fit Blind Illusion better than Possessed in my opinion. The first 3 minutes could be a song all by itself! The solos are amazing. This is followed by feedback, and then the main riff comes in, and it is awesome! This is the track that I recommend!


"Metamorphosis Of A Monster" is the most progressive on this album, with this song clocking in over the 6 minute mark. An organ and even a children choir make an appearance! The spoken lines at the very end of the song are pure poetry!

"One day the whales will walk the Earth,
The hunter will become the hunted,
Mammoth will unearth itself from the tomb of hibernation,
He will sprout wings and fly.

Man will be consumed by fire then condemned to the sea,
Burning eternally with salty water in the lung,
Reborn, reformed, the humble will adorn a new way,
Without treachery or scorn..."

That is just pure art at it's finest! What a way to close out this forgotten masterpiece! This album is the most unique in all of thrash, it is a mix of many genres in one. There is elements of prog rock, psychedelic, and even funk (which is especially present in Claypool's bass playing). This album is in my top 20 favorite thrash albums ever, it is just so awesome. Despite the less than perfect production and the reverb of the vocals, this album is a cult classic and it will leave you wanting more. So go on ahead, let Biedermann and crew welcome you to THE SANE ASYLUM!

Highlights: EVERYTHING!!! - Metal Archives .com

What really constitutes a 100% album? Obviously no album is truly perfect, perfect is a vague concept based entirely on opinion and preference. There’s no way for me to say this album is perfect. And it’s clearly not. The production isn’t so great, Marc Biedermann is a pretty poor vocalist, and there are certainly flaws. 

But I feel the need to issue this my first 100% based solely on the concept that this is one of few albums that, not only I can listen to repeatedly and never get tired of, but also based on the fact that there isn’t a thing I would change about this album, which is a pretty rare thing for me to say. I can look through my album collection right now and probably give you a handful of things I would change about any given album, even ones I love. Even ones I listen to significantly more than this. Whether there’s a song that’s too long, one riff I don’t like, a song that I’d delete, whether I’d change the production quality, change the volume of one of an instrument. And of course there’s always the case where I’d change the album by setting it on fire so that it can never again harm my ears with its awful. Bottom line: there’s usually at least one thing I can say I don’t like about an album.

There is nothing I can say I don’t like about The Sane Asylum. From the strange jazzy opening seconds of the intro track, before the guitar picks up its distortion and shreds into the beauty as Biedermann welcomes you to the Sane Asylum, until the final moments, as I’m not sure, but I almost think he ends the album by yelling… “BITCH!” (For the love of god, does anyone know what the last wordo n the album is, I hear “bitch.”)

As some background, I feel it’s only right to inform you that I am, in fact, a Primus fan, and I did, in fact, find this album through looking Les Claypool’s discography. However, I wouldn’t call myself a Les Claypool fanboy, as I really am only a big fan of the first handful of Primus albums. I’m lost a little by the Brown Album (although there is some good stuff after, I’m not big on any full albums), and I like songs he did in other projects, but not really any full albums. So, while I think maybe it’s unfair to not let it be known that I am a fan of Claypool/LaLonde, but I also don’t want anyone to think this is being blindly praised because they’re on it.

It can be said that this is a progressive thrash album. The thrash is definitely very prominent, and is probably the biggest influence, and the progressive label comes partially from the many outside influences. I’ve already mentioned the jazzy moment in the opening track, and considering bassist Les Claypool is now very well known for his work in Primus, the funk factor in has bass playing should be expected, and it certainly is present, especially at some moments on Smash the Crystal. Still, there are many clearly progressive moments on the album. Many tracks have sound effects somewhat buried in the mix, there’s a children’s choir and synthesizer on Metamorphosis of a Monster, and Death Noise. Just Death Noise. Kamakazi also features some wonderful melodic parts, and although this isn’t exactly new in thrash, as this was post-Master of Puppets at least, which features some of the most useless melodic pieces in thrash, but this executes them perfectly. The melodic sections never compromise the dark atmosphere of the album, and they never feel forced, and most importantly, they sound great. The whole album works very well, and unlike on some progressive albums, where a prt sounds awkward or out of place, this whole album just flows.

Now, there’s some argument that this album’s shortcomings hold it back, such as the production, how low some of these interesting little additions are in the mix, and Marc Biedermann’s vocals. But I’ve always felt that the production was perfect for this release. It keeps it dark and gritty, just as I’d want an album with songs like Blood Shower and Death Noise to sound. And the sound quality certainly isn’t bad. Just somewhat gritty. The little ‘extras’ being low in the mix keeps the focus where it should be: on the metal. This isn’t a progressive album that loses focus on the music because it’s too ambitious with its progressiveness. This is a thrash metal album full of the musical equivalent of Easter eggs for the frequent listener. I’ve already said that marc isn’t a good vocalist; however, he’s a vocalist that fits the sound. Tom Araya and Dave Mustaine are both bad vocalists, but could you ever imagine someone else singing for Slayer or Megadeth? And just as no one wants to hear Bruce Dickinson singing Raining Blood, I can’t imagine who would take over for Biedermann. I love David Godfrey, both in Heathen, and on the Blind Illusion demos, but I don’t know if he’d fit a song like Blood Shower.

Another possible shortcoming on the album might be the lyrics. I know some people really care about deep or powerful lyrics of some kind, and there’s not a whole lot of that. In fact, some of the lyrics are rather goofy, although still strangely topical. For example “The middle east will ride the beast /They're preparing now, for the feast /We watch them as we sleep /Their menu is prepared, it's you they want to eat /The main course/For their holy war.” And the way the album ends: One day the whales will walk the earth /The hunter will become the hunted /Mammoth will unearth itself from the tomb of hibernation /He will sprout wings and fly / Man will be consumed by fire then condemned to the sea/ Burning eternally with salty water in the lung / Reborn, Reformed/The humble will adorn a new way / Without treachery or scorn.” 

Clearly the band has something to day, but the execution is goofy and strange. I don’t see this is a negative point though. I see it as silly and campy, in an intentional way. Maybe I’m wrong, but I don’t think the band sat around for hours fine tuning the lyrics. I think they found a silly way to get a point across. No, it’s not silly in the same way Anthrax writing about Judge Dredd is, but it’s also not taking its message as seriously as …And Justice For All. Even if I am wrong, than at the very least it’s a case of ‘so bad its good,’ much like the movies of old where you can see the zipper on the monster or the strings on the spaceships. It’s silly and awkward and still entertaining and good in its own silly way. And I wouldn’t change a line on it.

So, a little about the actual performances: All of the band members play solidly, and there’s really nothing as far as the main band hiding in the mix. Biedermann has a voice that’s sometimes reminiscent of Dave Mustaine, or so I feel, he usually sings with a growl or with a strained sounding yell, although sometimes in softer spots, such as the previously mentioned Kamikazi, he sings clean. Again, it isn’t great, but he works with what he has. He also, along with LaLonde, handles guitar duties. Biedermann handles most of the soloing duties, but both prove to be very competent, as Larry is given about four or five. As should be expected, the bass has a funk edge to it, but still fits right in with the style of thrash this band is doing. Mike Miner rounds out the group as a great drummer, and the whole band shows they have some pretty damn good technical capabilities. 

In short, this is 40 minutes of imperfect perfection. There isn’t a damn thing that I would change about this album. It’s a little short, but I can’t even say I wish it was longer, because who knows if they would have added filler, of which it wound up with none. In the end, this only leaves you wanting more, which is usually a positive remark, except that Blind Illusion left us wanting more for 22 years. And once we got it, we collectively asked if we could give it back. But this is a beautiful thrash album, with silly, yet topical lyrics, truly inspired by insanity, and I wouldn’t have it any other way. And I can only hope and pray to the Gods of metal that Biedermann gets off this hippie rock shit long enough to, at the very least, get that final version of The Medicine Show he was talking about a few years back, and maybe remaster/rerecord some of those sick demos he had. I’d love to hear quality version of Banshee. Either way, we still always have the Sane Asylum. And I’m willing to be committed here for a long, long time. - Metal Archives. Com

Blind Illusion
The Sane Asylum

4.0
excellent

Review by joshuatree EMERITUS
December 1st, 2007 | 14 replies


Release Date: 1988 | Tracklist

Review Summary: A forgotten gem that ranks among Metal Church's debut and Possessed's Seven Churches as underground thrash classics.


Describing or reviewing an album like Blind Illusion’s The Sane Asylum is almost useless. Whether or not you disregard it for a thrash-prog experiment gone wrong or just the album that featured the two guys from Primus (Les Claypool and Larry LaLonde) before forming that band, it won’t really matter. Blind Illusion, and their only release, 1988’s The Sane Asylum, has become an underground favorite in the truest sense of the word: their small but rabid fanbase praises this album as the best metal album ever--not since Black Sabbath’s debut or Metallica’s Master of Puppets or whatever, but as the best ***ing metal album EVER. Of course, if you break it down, it’s not. What it is, though, is an unfortunately forgotten work of technical thrash metal that isn’t afraid to delve into prog, psychedelic, or funk territories whenever it feels like it.

Instrumentally, The Sane Asylum is top-notch. To be quite honest, The Sane Asylum may be the best instrumental showcase for a band since Rush’s noodle-y 2112. Longtime band member and songwriter Marc Biedermann and soon-to-be Primus guitarist Larry LaLonde repeatedly delve into classic guitar duels, the best of which is found on the progressive “Death Noise”. The song begins heavily enough, with crunchy and speedy riffs before spontaneously adding random blast beats and high-pitched soloing. Bassist Les Claypool adds a funky touch underneath all the heaviness of the solos, and his complicated rhythms are as technical as the soloing guitarists. After the intense sugar rush of solos and basslines, the song disintegrates into almost un-listenable noise and feedback, before the noise and feedback starts to gather itself into a rhythm, and then the guitars start taking shape again. Finally, the drums kick in, the riffs formulate, and the vocals start.

The vocals are definitely the drawback of The Sane Asylum. Biedermann also is the vocalist on top of being the lead guitarist, and it’s almost immediately apparent that Biedermann spends more time honing his guitar talent than he does honing his singing. His vocals are rasp and usually spit out in a quick and uncompromising fashion, but instead of having the menace and evilness of contemporaries Conrad Lant or Tom Araya. It doesn’t even measure up to James Hetfield. Biedermann has almost no range whatsoever, and his growls are repulsive and weak. They might even be unbearable if it wasn’t for the production, or lack thereof. The Sane Asylum is horribly produced, and has a hollow, echoing sound; almost like it was recorded in a sewer. The guitar sound is cheap and minimal, the drums lack all sounds associated with thrash and aggression and whatever’s associated with them, and the bass is really only audible when Claypool lays down a solo or a complicated rhythm. However, the production begins to seem almost natural, and helps toward the minimalist and technical sound, resulting in a tasty oxymoron.

Oxymorons. This album almost revels in them, and constantly throws two different sounds and goals into a stove and lets them boil and meld together. The guitars are technically perfect, but sound as thin as what you would find on a Linkin Park album. The drums are never the main focus of The Sane Asylum, and wander aimlessly under all the guitars and basslines. But drummer Mike Miner adds superb fills and rolls in places you would never expect them to be, like in “Kamakazi”, where Miner solos spontaneously and progressively under pianos and guitars. Yes, The Sane Asylum is progressive, as most clearly shown again in “Kamakazi”, which transitions from a solemn “November Rain” intro into pure speed/thrash bliss, and, halfway into the song, guitars turn acoustic and Claypool solos beautifully underneath. But almost every song progresses in this way, and after a while, the typical song structures become the opposite of progressive and forward-thinking and instead become typical and rudimentary. Hell, there’s even effects and other instruments used to add some experimentation and flair to The Sane Asylum, such as the organ in the purely heavy “Metamorphosis of a Monster” or the click-click feedback of “Vengeance is Mine”. The problem is that the production is so bare-bones that you can barely even make out these effects underneath the sludge of guitars and bass.

So far, it seems like I’m completely bashing a near-cult classic, doesn’t it" I’ve bitched about the dreadful vocals and the production ruining some effects that may have really made the album. But The Sane Asylum isn’t a bad album. In fact, it’s an excellent one. Why" Easy: it’s just so damn fun. The overabundance of solos and the tongue-in-cheek lyrics show that The Sane Asylum isn’t meant to be taken too seriously. When Biedermann barks in “Blood Shower”, “YOU. ME. KILL.”, it almost immediately brings up a laugh. Maybe Biedermann’s actually serious in his faux-nihilism and hilariously cheesy violent imagery. But I didn’t interpret it that way, and for that reason, I really enjoyed The Sane Asylum. You need to have an open mind if you want to approach this flawed work of art.

Why do you need to have an open mind" Because The Sane Asylum isn’t for everybody. It’s isn’t like a Deicide or Cannibal Corpse album, which aren’t for everyone because of their uncompromising heaviness. This isn’t for everyone because some people want more refined and more pleasant vocals; some people want a deeper, more textured guitar sound; some people don’t want an album that basically defines oxymoron, from its sound to its title. But if you can see through the sludge and the grime, you’ll find an excellent, if very underproduced, album. And those of us that can enjoy this album" Bitch, you know we be rockin’ this all night. 


PROS
+Grimy production
+Great instrumentation
+Fun to listen to
+Les Claypool
+Better than Primus

CONS
-Grimy production
-Vocals
-A desired taste - Sputnik Music

Man something about this album is just like the perfect embodiment of 80s metal. From the cheesy name that doesn't really mean anything, to the slightly demented, paranoid lyrics and of course the spectacular instrumentation, Blind Illusion managed to perfectly encapsulate a genre. But not only that, they expand on the template laid down by earlier thrash bands and managed to form one of the best metal albums of the '80s. 

I actually got into this album way before I even knew of Primus by reading through MetalArchives in the mid '00s. I vaguely knew who Les Claypool was and had heard of Larry LaLonde from Possessed, but wasn't too familiar with their later work. Even though his bass work is phenomenal on this album (though a bit quiet, which is disappointing) I get the feeling that Les' heart wasn't quite in creating thrash metal (though he did audition for Metallica at one point). But anyway, despite his later efforts this album isn't really about him and fronted instead by vocalist and guitarist Marc Biedermann. Perhaps a name you're not too familiar with in the thrash world, Biedermann had been fronting Blind Illusion since its inception when was only a high school student. After many design changes (at one point it was a sort of prog-rock revival band taking influence from King Crimson and Rush) with the band and countless personnel changes, Blind Illusion's first (and only until their '09 reunion) album The Sane Asylum finally hit the shelves in '88. The album was nowhere near a commercial success, and to this day I still have not come across another real-life human being who even vaguely knows of the band. 

The album begins innocuously enough with a dedicated intro (aptly taking the same name as the album) with sort of a "declaration of what is to come" aspect to it. Moving on. The first actual track is Blood Shower, sounding very Megadeth-y. It's perhaps one of the more straightforward tracks off the album, but showcases something more interesting about the band: They're not just all about speed. The chorus manages to hit heavily, but also manages to remain melodic. The song even ends with some interesting studio noises (in full stereo effect, nonetheless). 

Now I don't listen to too much thrash. I like Metallica and Megadeth and will entertain some Slayer and perhaps Kreator or some other lesser known thrash bands. What doesn't do it for me is that so much thrash just seems repetitive and boring. Speed in music is great, but it has to be used well, and just writing a song that's faster than your counterparts isn't guaranteeing at all that it will be better (and usually if that's its only distinguishing characteristic, it's worse). Perhaps this was Claypool's or LaLonde's addition to the band, or perhaps Biedermann is really just a good songwriter after all, but the songs on The Sane Asylum have so much more to offer than many other thrash (or just metal) albums I've listened to. Sure, there are the obligatory headbanging parts, consider Vengeance is Mine which dedicates most of its run time to the matter, and lightning fast shred solos which may or may not be total nonsense music-theoretically. But what I've always appreciated about this album is that the band actually constructed some really generally great tracks, as well.

Consider Death Noise, easily one of my favorite tracks from the album. It's not blisteringly fast, but it keeps a good pace and is built out of some really cool guitar lines (the one starting around 1:30 has always been a favorite of mine). The track is fairly lengthy, containing a brief abstract noise period and returning to another even more catchy piece with some excellent bass playing by Mr. Claypool. The track sounds like a logical precursor to Primus' first studio album Frizzle Fry somewhat. The remaining tracks on the album are all spectacular, Kamikazi continues with the same mellowed out pace that Death Noise sets and gives more space for Les to show his magic. Perhaps this is Biedermann's love for prog rock shinning through, but clearly more is going on here than just thrash. The last two tracks Viscous Visions and Metamorphosis of a Monster are spectacular as well. The former opens with a great slower piece of more angular guitar lines and some really cool vocals by Biedermann. It manages to sound 'evil' without being overly corny. The later is a bit thrashier, but has a great ending that closes the album on a colossal note (and also includes what sounds like a toilet flushing). 

All in all, Blind Illusion managed to create one of the best thrash albums I've ever heard. Something that die-hard thrash fans can get behind and also people who aren't that into the genre can appreciate as well due to the varied influences. If you're listening to the album because of Les, don't expect any crazy Primus-like shenanigans (not meant to be a slight against Primus, as I really like them as well, the music herein is just different in attitude). What you'll get instead is quality thrash that rocks hard but also has a lot to offer melodically without relying on just being "brutal, heavy and fast". It's a shame that it went unreported for so long, as it clearly holds a candle (and surpasses IMO) many of the other "legendary" thrash albums of the 80s. Well worth seeking. - Rate your music .com

"Those magical thrashing days! Our paradise lost! Yes, indeed, I was lucky to stumble upon this gem back when it was released, when longhairs were still frowned at- or should I say, when there were longhairs, and real punks, and people obsessed with music, not trends. It was 1988, and I actually had read about this band in a Metal Forces (UK mag) article, and boy, was I psyched! I couldn't find the damn vinyl in local metal/hardcore stores in Mexico City,Mexico, so when an offer came to jump in a car and drive 15 hours all the way to San Antonio, TX, I didn't hesitate... I made it to a bitchin' store somewhere on the outskirts of that forlorn, depressive city and got ahold of my copy. I paid 8 bucks for it, by the way (I've seen used copies that go for over a 100 dlls!)... When I finally heard it, I was only let down by the horrid demo-esque production. Too bad, becasue the music was so unique and, dare I say, progressive. Almost twenty years later I still listen to this ouvre on a very frequent basis, which says a lot since I can't stand bands like megadeth or metallica anyomre (blame their popstar status and their faded formulas, not me!)... Want to know how it sounds like? well, it's thrash metal, but with a seventies, psychedelic flavor that you won't be able to find anywhere else in the field. If you're a newcomer and want some kind of clear reference, I would say these guys come across as a proto-mix of, say, Municipal Waste and Baroness, but a lot more trad-metal, and a lot more 70's. In fact, as far as I know, they broke up because nobody got it. later on, les claypool and larry lalonde (ex-possessed) became rockstars with their overrated alterno-band, Primus...But the real brains behind this classic album was a certain Marc Biedermann, an excelent guitarist/composer and ex-hippie who dared introduce a younger crowd to the perennial sounds of Crimson, Rush, early Sabbath, early Scorpions, Rainbow, and many other luminaries. Such a shame nobody wanted to listen. Believe me, back then, they press hailed them as the next big thing, and considering that Kirk Hammet was set to produce them, man... just goes to show you that we live in a world that is far from perfect! All in all,the album's filled to the brim with fast riffs, intrincate and surprising tempo changes, trippy effects, solid drumming, catchy songs and twisted, quasi-prog melodies. The lyrics deal with drugs, politics, death wishes, nightmares, insanity, and, as far as I can tell, ecological concerns. On the pictures published in mags they often resembled burnt-out hippies, which is a funny look I totally dig, but that's secondary, of course! Some songs are quite long, such as "Death Noise" and "Metamorphosis of a Monster": the former sounding a lot like a darker "Sails of Charon" (Scorpions), one of the best heavy rock songs ever! Really, bands like Metallica or Anthrax could only wish (even today, after all the millions, the big houses, the grammys and the addictions!)to sound like this...Wonder where Biedermann is today. At least, he lives and rocks in my personal pantheon, alongside the likes of Ax Genrich (guruguru), Randy Holden, John Duccan, Glenn Buxton, Rod Price, Hideki Ishima (the flower travelling band), Brian Robertson, steve Hillage, Duane Denison, Helios Creed and many others most people have never heard of... Blind Illusion: one of the best kept secrets ever!" - Swap a CD. Com