THERE ARE NO ORDINARY MOMENTS

"Red Blanket" tumbles in bringing a heavy rhythm surfing between rock, space heavy, jazzy-rock; a modern sound with very present drums and languorous, supercharged instrumentation, which is exactly what I criticized AGUSA in the studio but which created a much more heavy rock sound live; addition of the trumpet halfway through then resumed with a hard riff that doesn't leave you alone, that's the goal with a finale that's amazing, a stunning aside on the trumpet calming down. "Eagle Plains" mid tempo air in intro before its rise, progressive research mixing old sounds like a homeopathic trace of LED ZEPPELIN and a crazy keyboard space, RACHMANINOV, PAGANINI, RUDDESS or EMERSON in his time; unpretentious music that swirls, that swirls in the ears, that merges and leaves you speechless, OVRFWRD in that. "The Virtue of?" drums with a dark timbre, yes AGUSA in the line of sight and the MONKEY3, I won't budge; between crazy atmospheric space rock and ambient post-rock, ah this guitar which comes like a torrent of lava to set fire, merging these two groups to bring out the best; a musical force in its raw state with this hard riff grafted onto analog keyboards; another flirtatious riff on the legendary DEEP PURPLE and you will understand that boredom really does not exist. "Flatlander" short title with hard rock riff; a supercharged composition, frantic rhythm like a blow from a club. "Tramp Hollow" change of rhythm and tune with a Japanese flute, Asian percussion; Mark's guitar airy, grainy while Chris' keyboard fills the space, the rhythmic base laying like a fluffy support; final piano rounding everything off, no boredom for the moment.

"Notes of the Concubine" piano and acoustic guitar reverb, distant South American atmosphere that is searching; the guitar that sings Woody's tune; the organ joins in the part for an intense, colorful variation; jazzy piano break and quick ending before the haunting restart. "Eyota" for the musical slap, a slow progression at the start with an acoustic piano, meandering percussion, a dreamlike musical rambling then in the third the weighted explosion with a little flute, the piano is solemn, a roll of cymbals, a mixture of the symphonic, the romantic and the melancholic; a snub to the great KING CRIMSON for its final flight and return of the minimalist piano; the angry guitar and the rhythm section invade the space to remain silent in front. "Chateau La Barre" for the electro keyboard interlude, like drops of icy water flowing, ideal for clearing the ears for a while. "Serpentine" on an energetic tempo, the WHITE STRIPES when they made good rock; Chris' synth is captivating and hypnotic, between a Hammond organ sound and a funky 60's keyboard; the base vibrates and leaves with a heavy space rock tune; the tune sounds modern and reminiscent, mixing the two musical spectrums like no other, AGUSA in the lead again without the flute but with a killer keyboard; heavy disconcerting ending. "The Way" clearer entry at MINIMUM VITAL, it goes up a notch, Kyle's bass puts on a show to the point that we hear a double bass while Richard admirably supports him; the kind of OVRFWRD is always inimitable, hold a metronomic Frippian tune then it starts with the guitar on a tortured ZAPPA; yes it is 2024 and this sound manages to pass over different styles; dark heavy finale, struck percussion that bewitches; yes a new sound has just been born.

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