BRAVE

MARIILION and its concept in its HARILLION period, interesting!

1. Marillionian intro bridge, yes I have to find something; latent, progressive, melancholic, effectively gentle; in short between the mermaid fishing port and the snowy lakes of Scandinavia, a bridge between two continents 2. Living with the Big Lie continues, that's important; Steve who doesn't do too much, the most of this album we will see, always following the musical framework, amplifying, guiding the tune turned on the keyboard and Rothery's very tormented, very demonstrative solo; yes there is all that in this title, I only write the minimum; Steve with his voice like a musical torrent that's it, without overdoing it 3. Run Away a few voices for the sequence, just to say that the concept is validated; title which blows hot and cold, melancholic sweetness to the explosion of the volcano in a fjord; very melodic and climaxing; piano break with Pete following on his bass, another solo yes and another very good one, marshmallow, velvety with sweet notes, to eat more than listen to it and Steve that I say all the time that since Harillion he takes too much place, here his voice follows like the other instruments 4. Goodbye to All That for the river title, isolated, but 12 minutes on the clock nonetheless; latent Floydian intro before Ian's cavalcade of pads; simultaneous rise and break, go keyboards indeed, screams, cinematic it seems today, the gripping guitar which keeps you on the alert, Mark's synth which shows that he is a great organist, when 'we give him space like here; MARILLION-style programmed break with spatial, atmospheric effects, a pure marvel; a second takes over, vibrating string, distant voices, rolling drums, real madness, yes we are in it; latency and progression, beauty and astonishment, we take the time yes now it seems like it's a bit long... but you have to know how to take the time in prog; the crescendo becomes more imposing, we wait for it to explode; we're still drifting, Steve helps us...the wait replaces this potential explosion although the deafening finale sends us there, in short 5 drawers for a long title which gives 5. Hard as Love a more lush sound; Mark shows enthusiasm for helping Steve navigate progressive lands like in the Fishian era; no offense to this break at 2 minutes where the sound is purely fugazian with a touch of nostalgia added, the crystalline piano throwing confusion and the spleen guitar throwing fuel on the musical fire; hard as love this title, a block, a heavy title in addition to a very good DEEP PURPLE where I see the fingers of Jon LORD yes, yes

6. The Hollow Man for the interlude, yes 4 minutes is a lot but hearing Steve singing so softly can only make me think of it; Mark's cathedral-like piano amplifies, in short, isolated I'll have trouble, here it's just the piece that puts you before the final fight 7. Alone Again into the Lap of Luxury begins directly with a concise tune, between spleen and romantic view... if you see the difference; 2'30'' and this break which is swelling, as if it wasn't going to stop; a little acoustic to sprinkle and there we go again, a very bold chorus with the overflowing instruments and the break again... it swells, it bloats, it explodes; moment of marked dreaminess; the end what can I say, ah yes suddenly without warning, finally the milk has not overflowed and we can taste the custard still steaming; yes this album is to be enjoyed, a musical dish 8. Paper Lies and that printer noise at the start; a well-crafted heavy rock title that goes out of the concept context, an interlude, a break to relieve the accumulated tension? In short, little progression in it, just an orgasmic rise; good always to trap me, the tribal-junglal finale and the keyboard which holds the note, just enough so that 9. Brave makes everyone agree; tubular pipes à la OLDFIELD arrive, the air muffled, mischievous, a long and slow rise which breaks with the previous explosions of sound; a voice that wanders over the diffused air, more foreign voices that force you to leave, if by chance you were not already there; the declination becomes mysterious and languorous, the mystery of the music in fact; returning to the starting air to complete 10. The Great Escape appears, different but so similar before moving into the slow melody, a title where you could stick close to a friend without it being dangerous, where there was nothing horrible about these words; in short Steve is going to let loose here and scream his cry over a Dantesque orchestration; the image is of having the power without needing earplugs but knowing that you can put them in just in case; immense this climb, this moment where we can escape, immense this minimalist piano break where we discover the beauty of nature after being locked up... well, I will fall over the moon if so 11. Made Again for the finale which could only take place in an arpeggio with Steve telling Steve the measures; second half and a little more orchestration on an unplugged register still, the percussion being well in front; ending which leaves a void after listening to this major album. Good OMNI!