With a psychedelic ‘70s vibe, ala Swedish neighbors, Hällas, the 6:09 "Hypatia", kicks things off. Echoing, nearly a cappella vocals are quickly usurped by a jangly guitar led instrumental passage, prior to the actual verse. These Norwegians don't play by the rules! The guitar tones are from a bygone era. Just check out the multiple voiced backed hard rock on "Valley Of The Moon". Then there's that wayward keyboard interrupting the aforementioned six-strings.

Lightly strummed guitar (akin to Neil Young/Crazy Horse) greets "Comet Of Gold". Not something unheard of on Flight albums, just not so protracted. A second, more aggressive guitar rides beneath the sedate melody, until late, when it becomes the dominate force, raising tempo and intensity of the tune, as a whole. However, before it concludes, the electricity winds down, eventually disappearing completely, to be replaced (for a brief bit) by keyboards. The title track comes next. At 4:17, it is the shortest proper tune and the most conventional Flight track. Taking a lighter tone and higher pitched vocal, "Paths To Nowhere - Elysian Fields" inhabits the same territory as Sixties Brit-pop. ("Moondance" is a 98 second, practically acoustic, intermezzo, leading into the mammoth closer).

Speaking of the 9:28 "Mystic Mountain" finale, it's broken into four subsections, entitled: I. The Gates of the Destroyer / II. Transformation / III. Return to Forever / IV. Stardust. A repetitive string of guitar notes rises from the silence. Reaching crescendo. As the voice kicks in, it feels like a rock opera overture (Jesus Christ Superstar/Tommy). The premise established, the guitars go on, ahem, a journey. An infectious bounce, on the backbone of keyboard interplay, is established and given room to run, before the guitars return: setting up a "follow me, if you can" scenario between the strings and keys.

Just wish after this pandemic wait that the disc was longer (just seven tracks, lasting just 26 minutes, apart from that lengthy, albeit stellar, last cut).