From Germany, Mihrax earlier this year released their second album, Rox, which was duly reviewed and appreciated here in Lazland. The review can be found by clicking on the button below.

Now, we have an EP, Medley of a Life, which is essentially an epic track split into five component parts telling the story of a person’s life, birth to death.

The lineup is founder, Tobias Graef on keyboards; Boris Elfert, vocals; Thomas Graef, bass; Andreas Wittwer, drums; and Thorsten Schlüter, guitars with Jan Schollhammer, saxophone on the third movement.

Over 26 minutes of music on this, so it classes as one of those “Topographic” uber-epics here on Lazland. Is it worth you popping over to https://mihrax.bandcamp.com/album/medley-of-a-life to get a copy? Let’s find out.

We open with First Steps. The curiosity of the newborn child, lyrically very clever from that perspective well done. The keys are so delicate above the crying baby, before coming into our consciousness as the song proper kicks off, Tobias creating a lovely orchestral soundscape. Elfert adds some operatic textures when he enters on vocals.

Part Two is Die Another Day, so good afternoon, Mr Bond! The child now exploring, testing the limits of his ability and strength, a galactic strength imagination. This is quite a long piece just short of nine minutes, and has a pleasing melodic electronica feel to proceedings before a more traditional rock piece takes over, some nice interplay between the synths and lead guitar especially, the rhythm section asserting itself, the voice descriptive, some good guitar work, the music moving into a fusion-type jam, so plenty going on in this, always interesting, and sometimes relentlessly catchy, the acoustic guitar solo particularly pleasing. A video is embedded below for you to enjoy.

Part Three is The Jigsaw of Life, meeting that special other, the frisson of attraction, but also the mystery of not knowing where it will all lead. There are some nice synth-led riffs, and an interesting contrast when the smoky piano twinkles on its own, before Thomas Graef provides us with some exceptional jazz-infused bass fretwork. Tobia asserts his leadership strongly with a swirling synth solo. The sax when it enters the fray is delightfully playful.

Closed Circle is the fourth part. It is a slow burner before the vocals enter, a nice mellotron rises above the fray in an essentially pop prog rock ditty, some delicate synths and guitar solo lightening the mood.

We finish with Peace, the end, the continuance of love in the soul. This short song is my favourite on the album, gorgeous cinematic soundscapes created, knowing just how to use a delicate sound to impactful effect, the beeping of the monitor then failing quite evocative for me. It is embedded below.

I have enjoyed Mihrax’s output in 2025 and look forward to seeing how the project develops moving forward.