PYRAMID

1. Travel the intro, the guitar arpeggio which drops a few notes; the explosion, the deviance, diversion, we are on the rings of a planet, the intro which becomes a title yes, absolutely, bluffing, end of the 70s the prog is dying, but with that it still has good days ahead him; the air that pierces space 2. What Goes Up... which continues with a Parsonian title, soft, melodic and its prog touch here trumpets and sinister violins at the end and 3. The Eagle Will Rise Again follows, yes still attached for a second Olympian arpeggio and Colin on vocals, yes with this group don't expect to have the same; choirs, a latent mid-tempo tune that you can't go any lower, a soft tune like a marshmallow near the fire, the choir which becomes an instrument, 4. One More River with finally a lonely title, Lenny on vocals, a nervous title, finally dynamic and clear keyboards at the start; fast break with classical orchestration, guitar solo it goes quickly so we don't get bored, go Phil's sax forward, the 80s are looming; title less gripping than the beginning, but hey it moves everywhere with Alan's synths let's not be choosy while looming 5. Can't Take It with You stuck confirming this progressive universe, oriental intro which makes the mouth water; hop the air leaves in a consensual way... a time just long enough to soak up warm and airy choirs, castanets; this becomes interesting; bam a Gilmourian solo from who you know, yes it helps to have worked for PINK FLOYD; we resume pregnant bass and the end a bit monolithic 6. In the Lap of the Gods ... bells, a Tibetan flute, but where are we? near the Gods? A roar, a surge of horns, a metronomic military pad, it swells, an acoustic guitar, it rises; an air to 'Amically yours', a crescendo and its flight of violins there, it moves, that's it, time has stopped, and the bass suddenly moves your neck, go piano now; one must be well seen to be thus placed on the knees of the Gods, protected, in the front row, but... it is divine until the end 7. Pyramania jerky piano, are we going back on the same theme? bam an air of 'ring the matins' with Jack who uses his singular voice, half chatty, half demon; in short, an interlude which is not one, a burlesque orchestral rhyme which relaxes and shows the diversity of Alan and his acolytes 8. Hyper-Gamma-Spaces arrives, seemingly nothing and bam a slap; what do you mean, an instrumental without warning coming from beyond space... ah stereo level Ok, astonishing ambience level Ok, orchestration level we're full; the melodic framework which parades like a MORODER, like a VANGELIS boosted by the TANGERINE DREAM of the approaching 80s; in short it vibrates, the speakers no longer know which notes to play and 9. Shadow of a Lonely Man arises as if to settle down from this sidereal journey; an orchestration that we would call cinematic nowadays, a real orchestra to finalize this avant-garde album; it's John who sings on the juicy, invasive, cutesy, marshmallow-like ballad-melody; it's beautiful and predictable, at least it changes but there is still this little rural passage which might make you want to go back there, yes we are good; yes, a progressive album that took the time to listen.