KAMA SUTRA

SYNDONE, as a reminder to the holy relic of Turin, is the Italian group releasing their 8th album, starting in 1992 their musical adventure for an energetic jazz-sympho-prog-rock trip, starting on ELP, QUEEN, AREKNAMES; cosmic hard rock, vintage moog and hammond, Nick has worked on pub jingles before and sets a symphonic tone based on keyboards, an album title about the Love of Life and its governing forces. A particularity, that of associating classical and opera with rock like QUEEN in its symphonic and baroque version, crazy and controversial. Hop, let's slide in. SYNDONE recently known with 'Mysoginia', always looking for sounds from my favorite band.

"It's gonna make believin '" with a bit of MOUNTAIN, the madness of opera and crazy pop, zest of BOSTON for alluring synths, in short, cosmic hard psyche to DEEP PURPLE and the madness of DARKNESS, title erectile tote. "Nirvana" continues with a baroque space-opera madness that refers to the creation of a QUEEN, it is said; burlesque vocal harmonies, a vintage keyboard, a pleasurable 'Phantom Of Paradise' musical. "Carousel" follows with a musical interlude worthy of a maelstrom; symphonic grandiloquence, majestic air on uncompromising musical art, charisma-like madness of the first GENESIS. "Into the kama" arrives, an intimate bucolic piano flirting with a romantic ballad dripping with spleen; soft duet voices that melt, evolving jazz-prog tune, the flute adds a layer, the tune referring to a progressive QUEEN, sublimely creative with the surprising oriental finale. "Bitches" and that cutesy classic title, a capella vocals charmeuse oriental or nun or both; syrupy violin like 'Gone with the Wind' and bang a festive, psychedelic groovy tune; strings add to the intensity and the madness, it starts in vocal and musical cries, surprising.

"You still shine" attacks on a tune which resembles a jazzy improvisation, xylophone forward; it merges on genres, it recalls the progressive forays of the great QUEEN with this proven grandiloquence, bluesy air, hysterical gospel and final intimate variation which launches "Sex toys are us" full of synths and samplers for uncompromising and unrestrained prog; a little raga, vocal spoken on a hard rock tune quickly amplified by a sax coming straight out of the PANZERBALLET. The symphonic at its peak; and "2 thousand 10" for the second instrumental interlude, tambourines and acoustic guitar, a metronomic tune that puts the ears down. "Sacred & profane" occurs and radically changes register, soporific jazzy air, latent, that denotes; hard-to-pinpoint pop musical chorus of musical madness; the second drawer seems to be getting improvised, eclectic with lots of layered genres, vintage keyboards and bass bring some meaning back to the longest and most exploded track, John LORD in thought. "We are the world we created" for the title which refocuses the album, majestic variation and symphonic anthem at the same time, voice à la Joe PAYNE, a little bit of THE ENID in the background, of ELP too; singular creation for a dithyrambic end. "Peace on Earth" for the final romantic ballad like a melancholy happy ending.

SYNDONE has produced a hard-hitting, hard-to-access album, a mix of bombastic baroque rock, symphonic and crazy and irresistible rock opera; Broadway musical drama and comedy, majestic sounds, bluffing titles that undoubtedly bring back to progressive rock; a musical theater has just been born and may not leave you alone given the research that is his.