OF THE LAST HUMAN BEING

1. Salamander in Two Worlds for the musical hypotenuse between hard violence, the frippian riff, the sharp voices and the soft rock variation 2. Fanfare for the Last Human Being for that, with a squeaky violin to annoy, excite a little 3. El Evil devil or not I feel the raw voice of BOWIE, yes good at the beginning, then that of UNEXPECT for the uncontrolled musical fury, then the beat of all that mixed can disturb a little, the drums, the violin getting carried away; the growl voice becomes animal, the violin out of tune; 4. Bells for Kith and Kin for the saving interlude for those who are not too pro SGM; the disparate bells, the hell belle approaches launching 5. Silverfish Carla on her refined voice, trembling like BJORK, a pure moment of ethereal and meditative music, the violin tuning the various sound effects that pass on this piece like SGM, without apparent connection, a sort of creative sketch; the finale becoming medieval, on a Balkan air with the folk instrumentation 6. S.P.Q.R. for the title with the submersive intro that launches the rhythm of the tribal and avant, avant-garde, metallic piece in fact; the roaring bass being the most beautiful example; one would think oneself in an exercise of "make even more noise"; disconcerting 7. We Must Know More with a festive interlude... of fair with the trombone that suits, finally the big one, the funfair atmosphere gone wild; the POS vocal yes the PAIN OF SALVATION in a moving a capella, well the purists will not accept the link with the hoarse voice of Tom or Leonard.

8. The Gift dark crimsonian atmosphere then a roll of pads, the voice screamed more than growl and the return to the uncontrollable sound on a sharp riff; a rumble, extreme death metal yes at this precise moment which is still disconcerting; since the start when it is strong we drive on the heavy highway 9. Hush, Hush for the most representative piece of the group oscillating between the hypnotic distressing murmur, the catchy vocal and the festive rhythm of a baroque opera in rut; in short it is astonishing to think of creating a sound of this ilk, its choppy disruptive singular not to write eruptive! 10. Save It! does not run away, PRINCE more than BOWIE, in the voice, the guitar, the beat and the explosive groovy air, the chopped choirs still a little UNEXPECT, ah how good they were too 11. Burn into Light continues to break down doors with a heavy sound, with distortions and heavy riffs like no other, moving further and further away from experimentation and developing modern hard rock. It is languid finally and hilarious until this crystalline riff that I discovered before in the PAIN OF SALVATION, a sign? 12. Old Grey Heron western banjo for intro, the cinematic linear air on an imagined duel, on the protagonists, the martial trumpet in the distance; we could almost see the sombreros, the gripping crescendo that never ends and launches 13. Rose-Colored Song with its musical saw and the old wooden piano of the time, a tune from 'Delicatessen', the sound of a boat, a sinister end that is being prepared, an end that is ultimately smooth, the moment for a debriefing.