HOPE DIES LAST

1. The Sleep of Reason Produces Monsters on a tone of IQ, ARENA, ALAN PARSONS PROJECT for the melodic side; the synth is the centerpiece even if Ryszard knows how to be discreet while Piotr does not hesitate to let go of his strings; final flute à la BELIEVE 2. To Err is Human at the solemn entrance, starting on a US pop rock of yesteryear, fresh, to be played on the radio; a sax amplifies the period concerned, Łukasz in action flirting with that of SUPERTRAMP; the synth now then back to the sax for the 4-minute instrumental cut off sharply by the vocal and his acoustic guitar; it is very melodic; a little water and 3. A Man is a Wolf to Another Man appears, without the teeth out; flute, organ, pop rock air on STYX or BARCLAY JAMES HARVEST, beautiful references; the pad rolls to keep the energy. The guitar solo as a final highlight, Gilmourian before giving way to the twirling keyboard then to the flute, in terms of orchestration it is well provided 4. Memento Mori with its waves, solemn piano arpeggio and its slobbering flute, vocal and monolithic tone; consensual piece based on the crescendo and the guitar solo spinning in symphonic space; the solemn à la BJH in the background with these demonstrative pads and the length of the melodic title.

5. Rise Like a Phoenix from the Ashes intro à la MEAT LOAF, yes a grandiloquent piano for me that's it; guitar solo before the consensual melodic title lacking the little more progressive 6. Hope Dies Last with always the aqueous start; a battle between the clear piano on the right and the acoustic guitar on the left, like in the time of PINK FLOYD; the imprint remains on a soft melancholy of the BJH; halfway through and the break introduced by a very airy Mason pad then the guitar which comes to give a little shivers; the very pleasant final in repetition before the aqueous and vocalized outro 7. Carpe Diem keyboard worthy of the 80s evening in hard FM or in new-wave, a blend of the two; a little regression for this catchy vintage title; always on the same melodic framework which can bother after a while 8. What Does Not Kill You Makes You Stronger ... as more nervous for the rhythm, on a boosted BJH, David excelling on the voice; a beautiful title without too many waves with a beautiful cinematic outro on the last two minutes and the return of the sax worthy heir of the 80s, the loop is closed; a little wave and... 9. Hidden track the hidden title, waves and piano to end gently. Long pieces mounted on crescendos with progressive and melodic breaks and developments for an old-fashioned symphonism, good for regressing. (3.5).