AXIOM

1. Distorted Angels with a unique title, a unique air, a space far from the system, emphatic, emblematic, cinematic title, a magnificent progressive intro for 2. Axiom and its latent air, Gregorian synth, bells, oh there it goes far; redundant yes but progressive... these bells amalgamate and burst, the sound becomes distressing, an archaic bass comes surreptitiously to prick up our ears, would we have arrived in Paradise? A slow synth agony takes the pad, and 3. Baptism follows, always this syncopated atmosphere, a ersatz of sounds a priori tampered which allow to give in the strange with these breaks 'sufficed by undergone' and the latency which ends; an innovative air with a final synth-prog rise with a trying rhythmicity, with this bass reminiscent of the 'Meddle' of PINK FLOYD, in short beauty.

4. Transmission Data Terminate continues the musical story; the sound is primary, the vocal phrasing, the invasive pads, hold on to some acoustic DEPECHE MODE, paradoxical; Maria Q intervenes while the air rises; 5. The Noise of Flames Crashing follows, that's also the blood prog side with the notion of the concept album and these stuck, tangled titles; voices from elsewhere, an invasive, spatial sound, between two worlds; an anathemaesque, tearful air, from the musical origin to a passage towards what we are not prepared for? In short, intensely avant-garde 6. Shiver follows, the electric piano of ANATHEMA I confirm; a ballad out of time with this piano that never ends and the muffled voice which by taking up a basic refrain provokes the lack; a long, captivating crescendo whose end is actually the beginning of 7. Axiom (reprise) with again these aggressive bell volleys, this dithyrambic bass, these layers of fat keyboards, this contained violence which makes this album a progressive must, whatever one may say; the bells return to the charge, on the memory of 'Breaking the Waves' for the Olympian, religious finale.