230503

1. The Deepest Wound cheerful pop rock with an airy solo, the sound flows by itself, the organ of the 70s, good remix to revise and find bases 2. Leaving Here Tonight continues, well that, the more neo prog voice, the plaintive atmosphere between PINK FLOYD for the acoustics and ANATHEMA for the air; an innocuous air which will leer at the PENDRAGON, the voice at IQ; it always flows by itself; Watersian bass and atmospheric, latent keyboard 3. Breaking Water with the solemn piano beginning, the sound arises, the keyboard suddenly becomes Genesisian on this latent space; the voice echoes, something changes for the better; I'm thinking of GENESIS for the 'Duke' period, the atmospheres are of course psychedelic FLOYD; magnificent orchestral interlude which definitely fits into the album 4. Waterfall offers a radio track, highlighting the vocals, a ballad like the SYLVANS did so well before them. The crescending rise that melts what 5. Anonymity on a soft electro track, marshmallow, go caramel for a change; repetitive monolithic tune to lull the ears which continues; sudden break... explosive, Kashmiri, heavy riff on the works of ARAGON and their 'Mouse'; a cinematic instrumental drift before the hour which takes the album into another dimension; stunning, interesting and oozing progressive; cars pass in the distance, 6. The Bond of Mutual Distrust follows with acoustic guitar for a while; prog metal riff and a long melodic piece with Robert's languorous voice; Steven's drums give an incisive rise with repetitive pads, we expect it to take off more but the plot will remain melodic, a slight disappointment; final aerial cinematic, dark, robotic 7. The Doctor leaves with an energetic piece, alternative rock reminiscent of MISSION for the phrasing, a title which is valid for this captivating and heady chorus, in short a fresh sound which denotes what was proposed; a hint of punk on THE CLASH, finally something dynamite and languorous 8. Flying/Falling continues and immerses us in a repetitive ambient sound à la Philip GLASS with a lot of electro dub; it evolves thanks to the guitar on a suave, soaring and melodic rhythm, a piece which emphasizes the innovative progressive side of the cinematic

9. The Collapse begins the end of the album with an air of deja vu, ANUBIS in fact, this mixture of prog pop rock, atmospheres and sounds very different from the neo prog label stamped on it; piano break and church keyboard reminiscent of YES, the majestic variation flirts with PINK FLOYD, it goes all over the place then the melodic unfolding brings us back to neo prog, I would say; the guitar on the first MARILLION, very beautiful back solo, which will amplify and end on its own during a very enjoyable interminable finale, yes for those who follow it could not be otherwise; outro on an operating room beep before the end 10. Disinfected and Abused brings the last title with Martin's sax in fury; the intro on ARENA, I think I passed almost all the basic reminiscent groups; Martin arrives by cutting the air a beat before the real soaring orchestral break, or Gilmourian you get it, with a zest of MOSTLY AUTUMN and FROST*. Already 7 minutes and the sound takes on another speed, no more nervous pep, no more honeyed heavy sound that numbs the ear; we enter the 70s on one side, we exit through the 90s and 2000s on the other, in the helicopter center and prog atmospheres; 12 minutes already the prog time has taken its toll, we are lost between velvety vocals and melodic melodic rhythms; the finale stretches out, proven sweetness, the solo fills the air, simple and effective, the sax returns, a sign that we are reaching the goal; the phone rings, pick up otherwise it's really over!

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