Conception, State of deception

I feel like I am neglecting this blog more and more each day. And it’s not that I don’t enjoy writing anymore, I actually miss it lot and I miss listening to music (I still do, but not as much as I would like to), it’s just that having a newborn in the middle of a worldwide pandemic doesn’t exactly make the inspiration flow. But as Conception finally released their return album, it would be a shame to ignore it. So off we go, Conception’s State of deception, their first full record after almost 20 years.

First stop, Of raven and pigs, a track that I found highly irritating. All throughout the song there is a riff that is repeated over and over and over, and no matter how interesting whatever is on top of it is, I just cannot focus on anything else other than that freaking riff. Thematically it fits the outrage of a “yelling in a megaphone” protest piece very well, but musically it’s driving me crazy. In this context, the growing bridge in the middle appears absolutely divine.

Waywardly broken sounds like a logical continuation of Poetry for the poisoned. It’s not the most interesting and creative moment, but it’s always nice to hear Roy’s wonderful and soothing voice, especially after thinking for so many years that I will never listen to it in a new release again.

No rewind shows off the progressive side of Conception, but overall is a pretty straightforward track. The verse is quite engaging with the staccato violins in the background, but the whiny long noted chorus drags the song down a bit.

My mansion suffers from a similar problem. The grave verse is beautiful, but the gliding chorus that is repeated one too many times throughout the track makes it kind of sappy and the addition of Elyse’s sugary vocals does it no favour.

By the blues is a nice change of pace, as a more energetic rock-ish piece, with a catchy refrain. It’s a rather simple melody, but it’s engaging and despite of the lyrics, it gives off a pleasant vibe.

Anybody out there is steady, mysterious and longing. As a melancholic tune that displays Roy’s best vocals, it’s by far the best song of State of deception. It could do with one or two less repetitions of the main theme, but it’s still the piece with the best hook and best atmosphere.

For a song that starts with the awkward ” no no no she said, I don’t want your pheromones”, She dragoon turns out to be an unusually interesting story. And not only the lyrics, but the music is very interesting too. A lot more progressive and heavy than the rest of the release, it has the kick that the previous tracks were missing.

Finally, Feather moves is the bonus that already covered in my EP review and is still as beautiful and touching as it was on the first listen.

State of deception is a strong solid return album. Not quite what I expected, considering it sounds more like the spiritual child of Poetry for the poison rather than the Conception I used to know, but I still enjoyed it.  And as always, Roy’s voice is a pleasure to listen to. Heartfelt and full of emotion and warmth, any melody he sings is automatically elevated by his presence. It’s rare for a band to make a comeback after so many years and even rarer to be equally good, but Conception seem to have done it and I couldn’t be happier.