A MOMENTARY LAPSE OF REASON

1. Signs of Life intro which reconnects with prog rock, orchestral, symphonic with these oars rustling the water and Rick's keyboard just solemn; the pleasure of wet notes on the water, this guitar, trademark registered by David and envied by Roger, oh well no it is no longer there 2. Learning to Fly continues, yes the clip the scythe used in any way, it makes me laugh again; this desire to fly on the parable of 'the emerald forest', an unspoken pleasure with this guitar, yes you will read this sentence; it's overboosted PINK FLOYD from the 80s which took its time to take off 3. The Dogs of War follows, the riff, dark, bestial, the keyboard running in before the start; the trademark stereo also with the spilling of low notes back, where you least expect it; the scratched voice swelling, everything is in the obvious, metronomic crescendo; watch out, it's going to go away...The debauchery of this big heavy sound, the saturation, the abused Hammond organ, the screaming choirs and this SUPERTRAMP fashion sax for a little vintage throwback, already at the time; the sound is amplified, criticized for being heavier, but it's time that wanted that, and it's very well done, one world that it belches 4. One Slip arrives suddenly with a light spatial sound effect, time to recover from this roaring tune; no, we're going back with Nick who gives us the Echoes trick; David sings and brings the tune to standardized terrain, used but oh so effective; it rolls, it brings us to an aerial piece with its dithyrambic, percussive break, its rolling drums on an S-F background, a ship in distress, just like the progue that clung to this album; ah prog is not dead, you see, the Pink have released something and there will be a concert; yes 1988 Versailles for upper France, immense that evening; stop memories, but it's still good, 5. On the Turning Away for the hit, the hit before its time, everything is there, from the rise to the acoustic guitar, from the monotone voice to the guitar solo even better than that of Money, choruses to die for , everything is there symbolizing the consensual prog rock that you want to listen to in a church, surrounded by your friends; in short the title listened to on replay for hours, I'm a bit of a fan

6. Yet Another Movie arrives, here is the prog of the 80s at its peak, making heavy use of the clichés of the genre, big sound, big visual debauchery and latent contemplative atmosphere; the air starts, David's voice amplifies the prog gift package with this grandiloquent piece, a perfect osmosis between moderate rock and reduced progressive flights; yes, no more long 'Animals' titles but the atmosphere is and will always be there; album by the Floyds which I associate with the fabulous 90125 by Yes for their inventiveness of this new decade; 7 Round and Round takes its place logically with this descending, dreamlike finale 8. A New Machine, Part One as an intro of 3 and not 2 pieces; vocoded voice on an almost human synth, magical latency that becomes almost... obvious in hindsight 9. Terminal Frost follows with this imposing crescendo, piano and sax notes on a guitar background; an easy declination that any proficient musician could do, but never did; the paradox of knowing that good music always has that something extra; the typical 80's piece with the thunderous bass and the twirling sax, hold the atmosphere on the soundtrack of 'Grand Bleu' for the casualness and the latency, the time which stops, easy but divine with 10. A New Machine, Part Two as the closing finale. 11. Sorrow for the hit that will haunt the group for many years; an easy solo at the start, a little laser, a gentle rise, choirs of divine, angelic, Olympian creatures, who sway, a little final solo which still pulls off, Richard and Nick laughing, David showing that progressive rock will never die because it is forever in our memory; whether you like it or not, it is indeed a primordial Dino skeleton that is there between your ears. A major 80s album for me of course.