TRESPASS

A standard album! 1. Looking for Someone intro that makes you cry outright, a good drum movement oh yes with John; the guitar was Anthony and it was great too, Steve only taking the handle for the next album, Anthony on keyboards will become Tony but what's good, there this jerky hit just before the flute drift of Peter and the piano decline; the ascent with Peter showing his voice, the GENESIS proto was that one and not another; the genesis was written here; the rhythm of the drums is essential to keep everything in order, the organ is majestic and brings the final explosive, giant, orgasmic... perhaps progressive until the Gregorian choirs 2. White Mountain chained or not arrives slowly as if to pass the baton; guitar from the Balkans, the notes pass before Peter speaks; the sound is spleen, melancholic, intimate and bucolic with this organ; yes don't forget that GENESIS is also above all Tony who sprinkles the musical framework; a bit of flute ah it's... a tad much better than brass, even if the sax isn't one... brass is EARTH, WIND & FIRE for me, in short flute, arpeggio. .and bang, bang, the solemn ascent that Strauss or Handel would love; it looks like Peter is singing from afar with a megaphone; bucolic atmosphere yes with this whistled finale and this organ that goes here and there and this Greek murmur in the distance (yes Greek and elsewhere but this title makes me dream .. of 'Amicalement votre' by chance? 3. Visions of Angels with the spirit of Genesis let me explain: a smooth start, instruments well laid out, it's to the millimeter but well on the cord; it goes up, it comes down again and it starts again on a musical parabola without realizing it; the most consensual title at the start, after when piano and guitar talk to each other we know that the sound will amplify; the choirs add a layer and we are not even halfway there; be careful, progressive rock freezes time; it starts again... fô follow on a flight of angel choirs for a piece that defies time 4. Stagnation that's it you're used to it, I got up, I changed the face and I missed the first 10 seconds; latent, foggy, genesisian as I was going to write at the beginning; yes I was writing notes like that to remember it so I put génesisien for GENESIS, great! Well here we are on the progression of the instrument at 2 minutes, yes we listen, we know it by heart but we are still waiting for another sound... you never know; ah ah ah precisely that's what I hear, Tony invests the space with his... his organs (not the same sound!), which gave the atmosphere; which allows us to go to bucolic, abyssal, rural lands; hush Peter comes back we listen, what memories come out, what emotion for a few notes; one of the titles goes everywhere for me which swells, evolves over time and which allows you to get lost in the air, the melody, the time when I feel like I have lived a good quarter of an hour currently, would I have lost myself in these meanders? 5. Dusk taken as an angelic interlude, as a nursery rhyme that could easily be found on their previous album; an arpeggio that ticks away, a short title, a flute that twirls around, the guitar that searches for itself, the moment chanted with the flute that comes back and keeps you in suspense; title that only serves to rest his ears before 6. The Knife ... intro .... it gallops, the organ passes the 2nd, the 3rd and Peter trots with his microphone; good close your eyes and you see the musicians on stage; one of the amazing titles to associate, amalgamate a bucolic folk pop sound with a final heavy rhythm; but there it's the guitar bellowing, and 3 minutes away you have the typical progressive break, the moment when you feel like you've come out of the title, go a bell, a guitar that spleens, Peter as the frontman, the cymbals which swirl; the delicate musical moment when one no longer breathes; an archaic voice coming from nowhere, from the depths? and this cry, this cry, let's go for the solo in two stages, the second more twisted whirling; the pads machine-gun and we imagine a monstrous end... it comes back to the organ and yes, yes, yes, yes, this monstrous riff which sends me back to the one known on DEEP PURPLE, or much later on a title by METALLICA; precisely Tony puts his 12 fingers to work, let's go, we shoot, we go in all directions, a complex finale... well structured there yes I insist; the finale that you all know... and who knows, reminds us that prog is really... good! 50 years later... 5/5)