SHRINE OF NEW GENERATION SLAVES

1. New Generation Slave with the latent take-off, a capella and this darker than usual sound, an appetizer before the RIVERSIDE surge, bass, drums, keyboard in front with the DEEP PURPLE sound; catchy, enjoyable, still excellent; unique, apart with a hypnotic lively rhythm 2. The Depth of Self-Delusion for the easy melody on a charming tune and Mariusz who shows that he definitely has a hell of a voice in addition; a vocoder for the rise, the haunting side, the radio edit of the time when we could listen to beautiful things on the airwaves 3. Celebrity Touch with the sound pumped on the DEEP PURPLE of the 80s, a little flute from Ian; well after that it's unique Riverside blood with the breaks, the flights, the sound of yesteryear and the atmosphere of the late night clip badly off; the most, the rhythm, the Hammond of the 80s, the drums and the scream announcing the devastating solos; the ambient break to get lost in the sound of the new millennium 4. We Got Used to Us for the voice with the eclectic piano, the bass of course and the clarity of the song that comes in at the top right away; this ballad that boasts a solo by Piotr to damn you, yes RIVERSIDE is all that and more, ah those piano notes in the outro

5. Feel Like Falling with the reminiscence on GENESIS, the syncopated pad, the synth tinkering; the tempered explosion then the saturated guitar, the organ that comes to bleed in the ears, then the air that leaves again, hypnotic then throbbing then dynamite. The instrumental finale, wild with the big riff, the guitar that surrounds itself, I'm at a loss, which surrounds itself around its strings to burst forth even further, enjoyable, the slap 6. Deprived (Irretrievably Lost Imagination) begins softly intoxicating, a moving soft spleen rock; an aerial break with atmospheric pads, the keyboard solo then the ambient return of the vibrating pads; the stereo association that emerges from it, this progression in this divine break where notes come to collide to give excellence. No need for a debauchery of notes, just the melody that "kills" on this crescendo with its sax suddenly, but where do they get that from? Confusing jazzy finale 7. Escalator Shrine dark and Hispanic intro, talking guitar, stunning, splendorous; a sound that flows, the bass behind, the languorous guitar solo, hold on like on TANGERINE DREAM for a moment; good 4 minutes and the guitar solo that tears, just before the title leaves by itself in a psychedelic atmosphere like PINK FLOYD, astonishing. Again this organ of John and the succession of sound effects, bass, heavy riff that puts the most refractory in a trance; it decarbonizes the speakers, it twirls; after the second third we experiment on progressive paths, those where time stops. Organ and vocal in perfect harmony intoxicated; the finale on an Olympian, dreamlike fade, mantranique, check the box and get a slap 8. Coda as its name suggests, acoustic guitar, Piotr's last, for the final nursery rhyme and to see that his speakers were still holding the ramp well, I had the impression that Mariusz and Piotr were there next to me

Bonus tracks for CD and LP: 9. Night Session - Part One which focuses on the electro variation, which Mariusz will take up alone later; a long metronomic crescendo to leave and stay in a trance for a long time 10. Night Session - Part Two continues on the same thread with a rawer sound, a hang adding a bit of sensuality like the sax heard in one of the previous tracks; the finale becomes spatial, screaming, with a saturated trumpet and blinking notes, in short ideal for falling asleep without thinking; more cinematic. A good 4.5 in fact!

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