GRAVEYARD STAR

MOSTLY AUTUMN is this group discovered in 2005 with the album "Storms over still water"; a progressive rock band formed in 1995 playing covers of PINK FLOYD. Brian JOSH is the backbone and breathed a FLEETWOOD MAC sound, BLACKMORE'S NIGHT. Heather FINDLAY leaving, a burst of emotion opened with the arrival of Olivia and her angelic voice; this 14th album smells good reminiscences of Karnataka and Magenta opening on folk, bluesy, celtic folk, a real musical "dream theater" finally. Powerful modern rock, artisanal because not sufficiently recognized in the prog universe, passionate, sincere and emotional music leading to wander in atmospheric universes; the combination of the voices of Josh and Olivia being a plus giving contrast to some tracks; texts on the pandemic with loss of hope and necessary renewal.

"Graveyard Star" on a dark atmospheric intro with association of 2 voices and a keyboard organ à la PENDRAGON, ARENA, crescendo with choirs and orchestration, it goes up; acoustic break and a big 6 'guitar solo accompanied by thunderous drums; we find WATERS at that time then the violin of Chris LESLIE (from FAIRPORT CONVENTION), the second spleen solo, plaintive, for me the most beautiful of the album leading to reverie one autumn evening; metronomic final with Iain's keyboard and the dreamlike rise. 'The Plague Bell' for the interlude voice at COHEN, text on confinement associated with death, its vibrant contemplative with end of storm. "Skin of Mankind" and hop The SHADOWS land or CASH for a spaghetti country western à la MORRICONE, folkloric atmosphere of the CORRS in the background for the agreed rhythm; Irish pipes from OLDFIELD melt the irreducible sailor in addition to the fickle violin; Olivia here shows the full extent of her vocal cords and gives emotion to support the confinement. 'Shadows' to an aria reminiscent of JETHRO TULL, vocal and rhythmic guitar in phase before the gilmourian solo which kills; punchy mid-tempo rock title emphasizing the time that passes slower, blocked at home. "The Harder That You Hurt" opens live acoustic with Olivia's calm voice, soul, folk a la KNOPFLER; beware of danger because this association and the sustained vocal explosion can capsize as well as the classical rise and orchestration and a bluesy aerial solo. 'Razor Blade' where the classical symphonic, piano and acoustic guitar go hand in hand; slow rise of Olivia swimming on the clouds, intimate dreamlike break then the rise can be guessed on a tune à la "Division Bell", Bryan's synth is divine; Josh speaks then Olivia joins him, the delicate solo to reach the end with this voice which is the centerpiece of the group. 'This Endless War' throbbing, soaring intro, intense spleen; the majestic HODGSON piano gives Olivia the opportunity to decide which 2 or 3 diehards she will lead us to victory in this never-ending war; a crescendo in itself simplistic that gives all the power to his vocal cords; minimalist title whose solo (the best of the album) has an overwhelming rendering, title to listen to live !!. 'Spirit of Mankind' changes tone with rhythm, more dynamic title for its powerful keyboards, the world is once again cloistered and must come together; shorter title, rock; Soothing acoustic solo that surprises before the real one that melts, Josh is indeed the second mind of the group. 'Back in These Arms' Floydian intro, it has its eye on ANATHEMA, magic that should not be forgotten, guitar, synth and flute; It starts with a jerky rhythm that heats up gently, a nod again to PENDRAGON for this enjoyable crescendo and the association of 2 voices, the joyful and glorious Irish flute tinged with folk gives hope in addition to the whistles of Troy (NIGHTWISH), hope to curl up in arms again? 'Free to Fly' piano and lullaby melody, Olivia gentle with her words for the country ballad, emotion of harmonies, dreamlike symphonic prog that leaves you speechless, simple and beautiful again with this nostalgic divine crescendo, hallmark of the group. "The Diamond" acoustic intro followed by hypnotic percussion; Chris Johnson and Angela Gordon take us to the most overrated but hopeful title, pandemic release. 'Turn Around Slowly' for the end with piano, acoustic guitar; classic pastoral progressive intro, well that's not SUPERTRAMP but almost ; Josh's voice suddenly wakes up, it smacks of GILMOUR there with a hymn to hope regained, ah a long solo that flows and reassures; break at the early GENESIS too good, I plunge back into the 70's; IQ suddenly then mounted in battle order to fight and defeat this damned virus; note the ephemeral cover of "Skin of Mankind" then that of "Graveyard Star" with Olivia who returns after highland flutes accompanied of course by the 3rd most beautiful solo of the album; epic, musical glory, bombast, ending. Note on the limited edition 9 other titles for more than 40mn of bonus and two instrumentals; this album has two remarkable long tracks with melodic solos but we should not forget the other melodic, linear ones that highlight the orchestration of the group. Its progressive, soaring, melodic and symphonic research combined with Olivia's magnificent voice make it an album of great value even if I got a little lost in the second part.