FORSAKEN

RED SAND is a Canadian group who released his first album in 2003 and happened to my ears in 2004 with "Gentry"; I had directly stamped 'rock neo-prog to MARILLION! A great group said second area that had the atmosphere kept him MARILLION period FISH; subsequently, their sound had evolved to produce a neo-prog rock a little beefier than their parents and give moods worked as the wonderful time "Misplaced Childhood"! This eighth album, calibrated barely 45 minutes of music is going to give us an overview of their musical progress. For me it is an honor to review a group that participated in making me take the painful course of 2000, but I will focus even more strict on their latest. At level musicians, it is good to note that the guitarist Simon Caron says absolute fan of Marillion, but PINK FLOYD, CAMEL, IQ. Personally, I will quote PENDRAGON for flights millimeter guitar, ARENA sequences for titles, some of SHADOWLAND for its neo-prog and therefore the period MARILLION- FISH.

Immediately, "Forsaken part 1" starts the festivities with a nagging voice intro with NASA, with a mod 80s synth and an air guitar and fat at the same time, all complemented by a voiceover sneer, throwing fact "Forsaken part2" and an atmosphere typical RED Sandian with all that makes the happiness of their illustrious elders: station wagons, crescendos, guitar solos and synths, calm atmosphere with soft drums, guitar vibrations and energetic again. The voice accompanies this piece beautifully. "All the life" denotes chained him with a rhythmic guitar, rockier and more imposing voice, more forward; however quickly a break at the piano and choirs bring the title to ARENA and voice and with a more powerful solo. The sound is present, just what his predecessors were also included on the outskirts of the 2010s by giving more relief, more energy, more eloquently to their music. "Hello Goodbye to the last" always chained arrives with a pace even stronger, more aggressive voice for a title while power; Note keyboards them back but still present either in dynamic form or as more serene; at that point, it becomes clear that the groups mentioned form only a beautiful orientation, an overview of the genre described; titles each have their own uniqueness: we can imagine or recognize an air of said groups but with his RED SAND; you can listen to find in which such air album may look like, Such a rate may suggest ... like to 7 minutes with this break in "Misplaced Childhood" in the middle of the album bringing a cozy atmosphere to allow the guitar solo following to be even better feeling. The sound of RED SAND shows its uniqueness and particularity, it is not taken back into neo-prog 80s, one is in the logical evolution of what MARILLION could have done in 2019 if he had continued in its original formation; a well orchestrated conglomerate between the various instruments and voice, a tune where each instrument is further emphasized throughout each track, not expecting his solo moment! For this reason, RED SAND is worth seeing and can also close the debate pros FISH HOGARTH, namely that there is no better MARILLION but simply a musical heritage in the person of RED SAND. "Afraid of Tears" ends the album with a hymn as powerful and melancholic air limit, a title centered on a guitar solo back in different forms; it's beautiful, long, breathtaking, it's dreamlike symphony is limited meditative, contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group with j 'I had the honor to chronicle their last album. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. "Afraid of Tears" ends the album with a hymn as powerful and melancholic air limit, a title centered on a guitar solo back in different forms; it's beautiful, long, breathtaking, it's dreamlike symphony is limited meditative, contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group with j 'I had the honor to chronicle their last album. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. "Afraid of Tears" ends the album with a hymn as powerful and melancholic air limit, a title centered on a guitar solo back in different forms; it's beautiful, long, breathtaking, it's dreamlike symphony is limited meditative, contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group with j 'I had the honor to chronicle their last album. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. a title centered on a guitar solo back in different forms; it's beautiful, long, breathtaking, it's dreamlike symphony is limited meditative, contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group with j 'I had the honor to chronicle their last album. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. a title centered on a guitar solo back in different forms; it's beautiful, long, breathtaking, it's dreamlike symphony is limited meditative, contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group with j 'I had the honor to chronicle their last album. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group that I had the honor to review their latest installment. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group that I had the honor to review their latest installment. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open.

This CD is short, it includes securities linked together and that make listening even easier, more intimate letting us go with the different notes in a musical universe filled with photos, memories that everyone can make it -even. This CD gives vibration, acclaim the basic movement that is one of this site: no post, no metal, no AC, no revival, no fusion, no math, just the very substance progressive marrow. So yes, we can say that is very similar to it often takes the same convolutions, the main idea is guessed pretty quickly. Yes, but the neo-progressive rock to the RED SAND is as unique today.