Tranlation kindly provided below by Uschi

One thing is for sure, the new [album] of the US formation THE RED MASQUE matches the actual definition of "Progressive" in the closest possible sense. What already seems to be predicted by the "unusual" cover artwork, is even more so confirmed by the music. Here really nothing is off the peg or even to compare to the usual prog output, a (folk prog) which partly very much requires getting used to consisting of untuneful chords, wild breaks (sic), fiery percussions, unwieldy melodies, folky-dark appearing Gothic sound pictures and with a at times hissing, then narrating or crying-yelling, and then again tenderly emphasizingly acting vocalist - that all is on offer in four overlong main pieces (up to 14 minutes) in "Feather For Flesh". The shortest "song", a kind of spoken epilogue with sound collages in the manner of TON STEINE SCHERBEN can be rather left out. Already 2002 this foursome has, with "Victoria And The Haruspex", presented a not really easy consumable work and also with this current, as well as partly very experimental sounds will even the tried prog listeners have a fair amount of trouble, I promise. Already the 14 minutes lasting "House Of Ash" demands, right from the beginning, full concentration, especially the heavy-melancholic church organ parts with the corresponding choirs could also work as movie sound track for a horror flick or one of the old silent movies. This formation from Philadelphia works in many musical influences, if always to good effect is debatable. In any case this wild conglomerate of voices, noises, buzzing percussions, strings and plentiful of finest 70s symphonic progressive school is wrapped up and serves on "Feather For Flesh" an absolute unusual music, which surprise with unexpected turns which offers continuously unpredictable changes, in whatever, at first strange seeming, genre."
To me it appears that the keyword for the sound seems with "untuneful" the most symbolic expression, because this original compositions are sounding very spontaneous and improvised - sticking song structures or even tunes are a neglectable peripheral phenomenons. Harmonies in a narrow sense of the word seem to play not really a big role in the way the band sees themselves. The songs are extremely abstract, partly really tangled, clipped and seemingly unapproachable. Also the often hectic rhythm as well as the rather seldom calmer passages with the above all laying latent gloomyness let the music not breathe often enough or allows for simple listening. Some music also has the effect being made too extremely sounding "untuneful", particularly when hefty howling takes turns with with clear singing and again accentuate guitar playing follows, and then everything together ends up in unrestrained fusion jazz rock. THE RED MASQUE are really strenuous and at any rate unique (untuneful) and, er, somewhat badly crazy. For not-progfans therefore rather not so interesting, it sounds sometimes during normal (sic) song phases like BLACKMORE'S NIGHT on acid with a splash avant-garde. Everything clear so far? If not, it doesn't matter, just give it a try, though I doubt that you are much wiser afterwards.

Alternate tranlation kindly provided below by Tony Wawryk

One thing is for sure, the new [album] from the US formation THE RED MASQUE matches the actual definition of "Progressive" in the closest possible sense. What the "unusual" cover artwork already directly indicates, is confirmed even more so by the music. Here, there really is nothing off the peg or even comparable to the usual prog output, an acquired taste (folk-prog) mixture of angular chords, wild breaks (sic), fiery percussion, unwieldy melodies, folky-dark-seeming Gothic sound pictures and with an at times hissing, then narrative or crying-blustering, and then back to an emphatically delicate-acting female vocalist - all this is on offer in the four overlong main pieces (up to 14 minutes) in "Feather For Flesh". The shortest "song", a kind of spoken epilogue with sound collages in the manner of TON STEINE SCHERBEN can be excluded from this classification. In 2002 this foursome had, with "Victoria And The Haruspex", already presented a difficult to digest work and also with this current, at times really very experimental [release], even experienced prog listeners will have their work cut out, I promise. Already the 14 minutes long "House Of Ash" demands, right from the beginning, full concentration, especially the heavy-melancholic church organ parts with the corresponding choirs [which] could also work as a movie sound track for a horror flick or one of the old silent movies. This formation from Philadelphia combines very many musical influences, although it is debatable whether this is always to good effect. In any case this wild conglomeration has packaged together voices, noises, buzzing percussions, strings and hefty helpings from the finest of the 70s symphonic progressive school and served on "Feather For Flesh" an absolutely unusual music, which, with constantly unexpected twists, diverts into many at first seemingly unrelated genres. To me, the most easily applicable keyword [to describe] this sound seems to be "angular", because these lusty [by which I think he means lively, energetic, rather than full of lust - Tony) compositions sound very spontaneous and improvised - rigid song structures or even melodies here are a negligible side issue. Harmonies in the strictest sense of the word seem not to play a really big role in the way the band sees themselves. The songs are extremely abstract, in places really mazy, staccato and seemingly unapproachable. Also the often hectic rhythm as well as the generally unfortunately rather rare quieter passages [combined] with the overall latent gloominess rarely lets the music breathe or even allow for simple listening. Some of the music also gives the impression of having been exaggeratedly set for 'angular', particularly when 'hefty' howling alternates with clear singing and contrastingly accented guitar playing follows, and then everything together leads to unrestrained fusion jazz rock. THE RED MASQUE are really arduous [listening] and certainly unique (angular) and, er, somewhat (very) crazy. For non-prog fans therefore rather not so interesting, sometimes during relatively normal (sic) song phases they sound like BLACKMORE'S NIGHT on acid with a splash avant-garde. Everything clear so far? If not, it doesn't matter, just give it a try, though I doubt that you will be much the wiser afterwards.