CLAUSTROPHOBIA

EYESBERG is a Teutonic and Grand-Breton project which began in 1980, reformed in 2014 and retracing the life of Vincent VAN GOGH for their opus in a libretto digipack; their 3rd album to date. An air that smells of GENESIS 70's and 80's, the IQ, a bit of the MARILLION of yesteryear, in short, prog-rock, a bit retro neo-prog with majestic touches of romanticism and spleen. Quickly let's take a closer look to see if they are getting close to this immortal dinosaur.

"Claustrophobia" and its explosive intro, instrumental in the lineage of a MARILLION, a PINK FLOYD or even a CARPENTER, a neo-typical voice à la FISH, then rising to that of COLLINS and "duke". The damaging influence of the mother is explained then after the verse and Malcolm's voice drifts, the progressive doors open wide and send you to the stylized sounds of "Abacab" with changes in structure, rhythm and melody. A 70's and 80's alliance with Jimmy's metal shells and Georg's slide guitar on the front and a very progressive track. "Strange Boy" on the lonely childhood of the hero in spite of himself for a title smelling good the GENESIS of the 80's "abacab" and "mama" from drums to keyboards, rhythmic tune, Phil COLLINS percussion, spleen guitar and synths à la Eric SERRA plus an atmospheric ending to conclude. "Walking in Storms" for the second big title, walk in a tempestuous nature and a sound of "Duke" or "Wot a Gorilla? ", Minimalist metallic synths, soft intimate piano break, plaintive guitar, it sounds more vintage up to" Wind and Wuthering "; solos that intertwine, giving a very pleasant Genesis atmosphere, a bit of SPOCK'S BEARD for the climate; the combination of drums, bass, keyboards and spleen guitar is enjoyable. "Salamander Tree" for a color course by the artist and a short track surfing on phil's vibe, for both vocals and percussion hits; a bucolic ballad with her little flute and Emma's back voice. "Sacrifice" for the notion of the bruised ear; a track here at "The Lamb Lies On Broadway", fast paced track; drawer with a fruity keyboard bringing spice, it goes up and we come back to the sound "Duke" again, a bit also on IQ, Malcolm mimicking the archangel here; The guitar takes precedence and leads for an interesting, energetic progressive digression with the keyboard that goes well with it, ending with a fairground organ to conclude this gesture of madness, of love? "We Want You Out! "And a sound apart in the album, heavy rhythm, catchy, a nervous riff, the voice typed for the moment of the hospital discharge; Georg and Norbert respond to each other in an energetic way to give a supercharged retro sound; the voice pulls between that of Phil and Peter, singular as a sensation, the twirling synth resembles that of BANKS. "Into the Asylum" on the various voluntary or forced hospitalizations, when its creation was the strongest; a track which brings back to CLEPSYDRA, on MARILLION, on BIG BIG TRAIN for the voice and the instrumentation; we come back with the languid guitar solo of Steve HACKETT as melancholy as it is filled with hope, the prog oxymoron is there with its paradoxes. The title that ultimately stands out the most from its ancestors to give its own signature. "Final Ride" follows here with the rhythmic finale, synths and percussions forward for a quick more rock title; a last heavy, fat, plaintive solo by Georg gives a glimpse of the inevitable end of this genius of art, Génésisien finale, spleen, melancholy, introspective with the tempered keyboards of Norbert very with the fact which reminds me of some notes of "Los Endos" .

EYESBERG combines the palettes of VAN GOGH and GENESIS with vibrant colors. This album is at the border of a tribute, a cover, an album halfway between remixed GENESIS and EYESBERG, a regressive bridge brought up to date, strange and singular, few headaches, just a moment of musical freshness; an album that will surely make you want to immerse yourself in those years when prog was revolutionizing, an album that is easily and pleasantly listened to, perhaps too much given the similarity.