TANGRAM

1. Tangram Set 1 and let's go; an intro; the intro which will rise very slowly, yes TD that's it; synths that respond to the keyboards, a latent atmosphere that turns, turns, seeks itself; an air that fills space; 4 minutes and we feel the musical sap rising, that's it, it's overflowing, a bit of flutes with a slew of percussion and the ultra bass sound that starts; a little more and one could believe in an electronic Mike OLDFIELD; Edgar's guitar is a plus for this 2nd generation TD; break with the bass which submerges the room, it goes down, on a VANGELIS-like search there, it's beautiful, electronic search which drowns you, leaves you speechless; the electric piano follows and we are already in the middle, it goes by quickly, a good sign; the calming guitar arpeggio, which makes you walk on water as a preamble to the sound of footsteps at the train station, do you remember? the synth which cuts and offers a melancholy-symphonic wandering following with noises from elsewhere, these noises which made us dream at our convenience before, unlike the noises of today which are well targeted to lead to a desired tune. .. even if I don't want to, there is a danger with groups that take it easy without creating the musical vibration that is too common these days; good, the crystalline notes on 'Ricochet', they flow everywhere; the keyboards battle alongside each other; the metronomic crescendo has its effect, other keyboards, but how many of them there are, slip in an air of BOF like 'Flash' at the level of the year it holds up; when talking about film don't forget sequences which will go on 'Risky Business'; the boom boom amplifies at one point you hear the WHO riff and its famous 'Won't get fooled again'; it calms down... gradually with a final bucolic drawer, keyboards with velvety notes; and you wake up from this journey without fear, without aches, without regret, ready to face

2. Tangram Set 2 and its solemn intro, which does not hesitate to leave after a few wanderings; these wanderings which I love and which allow me with each listening to be able to think of a different dream terrain, to let the eidolias come according to the notes; good 4 minutes of intro anyway before this bold synth which launches the charge; another for the bass signs of TD and Edgar who also launches... a burst of notes with his guitar; the sound becomes monolithic, repetitive ambient, bordering on trance; another tune is added before the drums give another opportunity for an explosive strato solo; this symbiosis of all the instruments amplifies the musical framework; there's less waiting, it's more engaging, expressive, I imagine myself in concert, yes I won't sleep it moves in all directions; the mid-term break intervenes, heavy, dark, with hints of TDs from the 70s with disordered and disorganized spatial effects, more dreamlike, intimate; voice-overs from beyond, the train still in the background to keep the grip... and layers, there it goes again, the keys pressed deeper; at this precise moment we are in an in-between; air which gets carried away on the central theme with ancient reminiscences, or how to throw things out of focus, how to leave the listener speechless; by the way, re-listening with headphones is a plus for this modern and fat, gripping TD album; ah 16 mins it feels like the end, it hits everywhere like your neighbor upstairs who doesn't take care to walk delicately; sound that seeks itself, voice, sound of the Vangelisians again on 'Beaubourg', sounds from 2001 appear and cause trouble, choirs, shall we leave again? No, one more synth which fills the room, which swirls up to your ears, which indicates a decrescendo ending just melancholy enough to come back down to earth without damage. A very good invasive sound in which you don't get bored.