ARK

1. Burning Down what to say? did you hear the intro? perfection, clarity of the instruments, the voice on that of COVERDALE, one of the most beautiful of time yes it goes back 25 years; punchy air, hammered and dynamite prog metal, the break like a machine gun, the muffled bass and the cinematic ending before its time 2. Where The Wind Blows continues, strafing and punchy air with this jerky hit from John which ensures a modern sound.. for the time; crazy break, Tore that I followed with CONCEPTION releases a crazy solo that I expected in his original group; not a second of rest, the fingers should start to turn red given the speed of execution; have an organ, bells, progressive to the end of the veins 3. The Hunchback Of Notre Dame continues yes you will have to get used to it, a bossa nova, a flamenco, a jazzy piano but where have we gone? A suave TOTO-style tune, a de facto samba break which bluffs the listener... ah yes the fusion was in this album too avant-garde, ah this piano which brings the screaming voice; the most this drumming which seems to go out of the frame and sets the sound, well I speak finally I write and a diabolical flamenco solo, enjoyable, the return to the fat, heavy riff, taking on the plaintive guitar, between sweetness and brutality the kind of piece that moves you, that does not leave you indifferent; ah it's Steve from YES with his solo, ah but no he played for QUEEN it's good there; a wandering choir, flamenco, move move... yes my proguous old friend can't follow and yet so many influences like this jazzy machine-gun piano... and the fairground organ, drops of water it's is dark, ouhhh I breathe 4. Singers At The World's Dawn paf a flow of lava tumbles, the oriental guitar, Jorn screams more than COVERDALE of WHITESNAKE holds a deep voice like ZAPPA all at once to counterbalance everything and John who continues to machine gun; this is mine this is yours hey that's it I'm singing a sign... what solo drums besides which stops everything, bam a plane passing, hilarious I tell you but much better than what Peter HAMMILL and the AEROSMITH did in their time; hold on to the storm, the waves...

5. Mother Love with this vibration, Indian noises, a choir of uncontrollable sirens, the drums again, the spleen guitar, 1999 excellent, ah this Tore solo which fills the ears, Jorn arrives suddenly and rounds off with his suave, gravelly voice; we feel that it's accelerating, a volley of violins, that's it, it's strafing on the thrash side like crazy; phew a synth to calm the ardor, Jorn in the distance on the melodic side; that's it, here we go again, musical programmed violence, the weeping guitar which will be taken up by Riz from ANYONE a little later; when it oozes, it's good; last break crazy-funky-jazzy only moment where I risk getting bored nah the final grapeshot arrives and fires at point blank range; the mermaid and 6. Center Avenue yes we are in it, so it will move, tumultuous city center atmosphere; a DREAM THEATER supercharged with METALLICA, a tune from SUICIDAL TENDENCIES with Robert still on bass, Jorn's chopped cry, limits DIO here; well the bass is too present but a little bass to clean up the speakers; solo in the distance and pads that tap on each other; COVERDALE too present too, yes an OMNI can have some fleeting faults; 7. Can't Let Go with the Arab-Persian advance, riff and languorous, precise air; Jorn shows the extent of his voice, he growls, he winds it, hold an airy sax, hold a divine guitar solo that gives you shivers, hold a keyboard à la MARILLION, à la RIVERSIDE; the sax back on the tribal, Kashmiri pad; another solemn, Olympian, Dantesque break; the apocalyptic finale on a melodic derivation which swells and overflows with both the voice and the instrumentation; it vibrates, explodes until the countdown... it explodes even more, at the level of musical Nirvana and it takes a child's voice to bring us back to Earth, giant!