PETRICHOR

Petrichor, this earthy smell that one feels after a shower, is the title of the album Victor Miranda Martin, a French musician of Montpellier which I knew existed before listening to this masterpiece and he gives the name of KEOR. That, chronic end, it only remains to listen so it is good and from the boat drunk PROG, bye! Well, for those who want to make the effort to read to me, and because in the atrium was told to do this column, I am starting! KEOR is its singular, unique, innovative, it's catchy, puzzling, "spleenant" and a bit annoying so I find a bit of everything I love. From WILSON already for melodic frames, the TOWNSEND for instrumental flights, the TESSERACT or the OPETH for the power of sound, OLDFIELD for pranks more questions, the KRG for mixing sounds sometimes rock, sometimes trippy, sometimes flamenco of FLOYD for atmospheres and general atmosphere, as some of these riffs "djents" that give power to the "progressive rock" of yesteryear and post-prog finally sounds in MONO plunging you into a state of bewilderment absolute music, almost catatonic. KEOR is an OMNI (meaning unidentified musical object) it is a musical fresco extraordinary sounds with blanks mostly 90's and current sounds. KEOR is too good, since it synthesizes almost all genres from prog rock style simply. Let us come to 5 rooms (from 8 to more than 14minutes) to see what it is! "Petrichor" with his plaintive voice brings the sound of their early PINK FLOYD, and eventually a riff straight out of 'The Wall', a killer. The choirs cling well to the melody and allow pride to different atmospheres, with acoustic guitar, clarinet and voice plaintive then saturated electric guitars and explosion: the ear is disoriented to adapt to these successive breaks and plunges you into a state pre-hypnotic. "The Nest of Evil" takes us on a colorful with air guitars, soaring freezing of TOWNSEND type and batch of machine guns, various and structured breaks reminding the calm before the storm, a guttural rise at the end of course bringing the noise an aircraft mild end of term; it is in the journey! "Snivel by the Pond" is a sweet song with vintage crunches at the end, with a clarinet, an air of waltz to symphonic, piano weighing bringing even more sonic diversion! It is bombastic, cliché moments but both sublime oxymoron to perfection! "Terence" and its introduction birds go ogle the Wilsonian side with a sound almost pop moments, noted a guitar solo to 6 minutes is worth the trip and a piano hammond latency basic look great. "Abyssal Bloom" occurs late in the course with great composition about the prog metal, but with a piano and flute combination on one side and distorted guitar, heavy even on the other, all welded by a captivating voice; heavy riff of a sudden giving way to an airy guitar and her little voice all complemented by school piano notes Wood, one we banged on it to try to make out more noise! Then return to a more post-rock in the end, the apotheosis! You'll understand if you do not like is that you do not like the progressive melting pot and stay in your classic dinosaurs, otherwise you will be overwhelmed by this sidereal album from another time, nay -I from another galaxy! I recall that my extreme rating 9.5 stops for me, you will understand that we are there near perfection simply.