FUGAZI

1.Assassing with the recognizable intro, rolling pad and guitar, shout-chorus, wow it goes up... a few explosions of sound and you're off on the MARILLION boat; a bit of keyboards and Fish with his distinctive voice, the explosion of the chorus which reminds us that it sounded heavy, hard at the time; yes Pete showed that the bass is not futile, Steve what can I say one of my favorite guitarists, Mark does not hesitate to give a flight of notes, which we no longer find for a long time in the post universe Fish; good Ian type too it's okay everyone is here; Fish ensures the minimum, it seems as if he is following his acolytes, his voice slips into the air, it increases to signify the finale which Mark signs much more clearly with cascading notes, yes well off 2.Punch And Judy for a radio edit, perhaps, in any case a good consensus title which will force me to only give 4, yes at a time when 5s are flourishing on albums worth 3, I remain frightened; yet there is a cheerful air, the rhythm too, but I'm missing this little progression that I was hoping for, yes that's how it is 3.Jigsaw the same even if longer, I miss that little extra for excellence, perhaps too gentle to start, perhaps too predictable with its verse-chorus, perhaps the 'Script' was too perfect ... Good 3'45 and this magnificent solo which contradicts me, how could Steve release something like that? Come on, drum roll, Fish talking, a final climb, a little Ricochet, this musical structure is still enjoyable... at the time 4.Emerald Lies intro men, ok here we go; which of Ian and Mark imposes the most? Well anyway this title is quite short, so let's come back to it otherwise we'll miss something... it's done, the explosion, the pads flying away, the gradual rise of sap, yes to it At the time I wasn't talking about prog blood; a prog title as we like it, concise, provided, filled with drawers and other atmospheres, various breaks and Steve's bewitching guitar on top, phew 5.She Chameleon yes I got up mentally to go change the face of the K7; yes, one that I bought and quickly brought to my friend's house, nah my blood brother... finally I used this verbal structure, and I made him listen to it by hiding the cover, as if he didn't wasn't going to find out who it was!! in short the organ is there with Ian and his drums, haunting air, Gabriel-like voice and rise which never stops... raising the atmosphere; the B side like the A side of 'Trespass' for me; nothing to throw away, absolute perfection, well Mark floods us with his/her keyboards, I said just today that a major prog band must have a great keyboard player, that's the case; well where are we there, yes Steve who pulls off a solo more spleen than you you die; well the organ resumes, linear, monolithic but so happy that you melt, the pad which also transports you progressively speaking 6.Incubus follows, no intro or very little; we're in the album anyway we're not going to leave! Ouuah, ouuaah, variation less than 2 minutes, Fish walking through the song, delicacy and sensuality I hear catwalk... yes I never looked for the text but I think of SAGA with this title released 2 years later early; good break I don't have time to chat a little, it doesn't stop, piano, Fish melting there and... you're waiting for one of Steve's most beautiful solos yes there, it's coming... simple, effective, long, captivating, it's just be gone... and Linda who shows the end of her ropes here, in short what can I say waiting for... I don't know where to comment, this title is strong 7.Fugazi with the assassination intro...or almost; the gradual rise is the sign of a new sound, of a new flight; stronger and more rhythmic tune, it rises with the keyboard, the voices which propel... ah you believed it so I put the right title... good Fugazi with its minimalist piano and voice intro; Fish sings a cappella or almost, yes I made believe that it was an outro... that's it... ah yes that's not true... guitar, bass, drums, you can feel the title who will seduce you, oh there I hear Fish everywhere, ah the keyboard too, a moment and it's really gone, a singular verse voice and the chorus and the roll of drums; synth which can recall GENESIS if it is possible; the final title with its misplaced break, dark, progressive, latent, everything we love; it lasts, Steve makes his strings vibrate, Fish also with You realize coming out of the depths, ah this fugazi is vibrant to the point of forgetting that the real end arrives there; Irish flute of the dancing joker and period, we're out, it's really over! (4.5)