OCTAVARIUM

1. The Root of All Evil intro to the theater that remains within us, distant softness, swelling air, aggressive drums from Mike the one-man band, the riff that sets in motion, let's go, velvety synth in the background, James who finds his voice, a good point; the sound evolves, more in the emphasis, the demonstration... which they can assume in view of their intrinsic qualities; heavy break and molten lava flowing from the speakers; debauchery of genres, styles, on inimitable DREAM THEATER, here Jordan goes there with his solo, ZAPPA with keyboard sauce, art rock metal prog under high tension; the finale with Jordan and his pianos again to soothe us with a bucolic air and 2. The Answer Lies Within follows from this, country bells in the distance, James on an aquiline piano which immediately hooks you, symphonic softness for the ballad with violin, flute, the complete kit and a solemn, intimate finale which gently introduces 3. These Walls with a mocked sound, a striped djent riff which directs an ambient prog metal intro, giving way to vocals; title which gives all the power of the group with waves of notes swelling the sound, the riot of the tempo; the piece contains itself to leave in an apocalyptic finale, a mixture of hard, classic, like the final bouquet of a fireworks display 4. I Walk Beside You is coming, yes MUSE everyone has been talking about it, and why not? A title that wants to be subdued, more prog pop-rock that leans towards the group mentioned, a COLDPLAY or a KEANE; ah this incisive violin adds to the feeling; In short, I love their choice of a short, easily listenable title.

5. Panic Attack and its heavy prog metal intro marks the return to the typical sound; power and speed, riffs, jerky air; from the dynamite of the dream; an Olympian refrain, the assured grandiloquence which still harms many prog people today who are invaded by this wave of villainous prog metal whose flavor they cannot yet accept; a solo comes to cleanse you of the death blow, a simple solo which grows, caught up in the guitar and the bass which forces them to go even faster, John MYUNG's fingers are just extraordinary; in short, nothing sensational but very high! 6. Never Enough follows, nervously, in the same vein, then the verse surfs again with MUSE; the chorus is intended to be warm, the keyboard being reminiscent of DEEP PURPLE; this musical melting pot is confusing and brings something new with something older; the break is dreamlike, Mike helping John to release a fat solo, tortured and melodic at the same time, we are entangled in it; time passes very quickly and slows down with the multilingual finale of 7. Sacrificed Sounds segueing into NASA voice-overs; a minute later, the basic piano associated with the jazzy hi-hat drums in mid tempo denotes; the air is stretched and leaves on a consensual title, yes you always need one, nay; tenuous bass riff that changes the plot of the song; a keyboard solo adds a little musical slap, Dantesque; suddenly the guitar, the neo-classical symphonic orchestration starts, the return of the chorus with a James who shows that the shrimps are finally a distant memory; final typed in the DREAM THEATER genre it goes well with a torrid Mike... the slap

8. Octavarium for the intro of the latest PINK FLOYD, yes they dared; the sound of Jordan's Continuum synth immediately puts you in PLS; The most beautiful 4 minutes of intro since ancient times, it starts with force and crash, then acoustic guitar which further slows down the enthusiasm; Tullian flute to slap the slap in the face of the recalcitrant fundamentalist, A tune without wave here, extremely simple, 9 minutes and the bass tinkering with the start of a minimalist break to pass the second; 13 mins and the keyboard solo which can make you think of over-boosted GENESIS at the start then a number of distinguished keyboards from prog groups; yes the keyboard really has that hint of the 70s, just what is needed to confirm the musical enjoyment; well prog metal at its firmament it is for the remaining 10 minutes with torrents of lava in musical fusion which will tumble, pour into your ears; freshness and warmth, a zest of jazzy keyboard, another zappesque, one of flamenco, all of that put together; James succeeds with his intonation to set off on captivating heavy metal; grandiose symphonic return; sweating of ears, armpits, moving; the real finale starts with orchestral sympho-classical, the best of a spellbound Neal MORSE; the hint of the opening intro frees you from this dreamlike musical trance. 5 drawers that we can easily grasp, making this title one of the best prog metal titles of the new millennium.