THE PENROSE TRIANGLE

LEGACY PILOTS Frank US is at the helm. He composed for jingles and private companies before returning with this 3rd album to his progressive loves; it plunges us into a colorful universe filled with maddening titles with the appearance of renowned guests and more intimate titles. A complex, fruity album, full of variations reminiscent of the PROG universe; unassuming pop rock tracks dare I say initially followed by lush epic tracks as the album progresses where emotion comes before virtuosity. An album in which Frank once again confesses his adoration for the legendary ELP. Better Days 'kicks off with a groovy tune as the radio edit track; melodic rock with its little synthetic digression, John's voice reminiscent of his different groups more on FROST *. "Ghosts of the Ocean" follows with an acoustic guitar intro leading to a calm and languid tune, an album ballad reminiscent of the title to be played in the stadiums, the one where your companion would cuddle in your arms; the title is worth its weight in notes with the charismatic solo of Steven hardly recognizable but always oozing with emotion, the keyboards ensuring the rhythm. 'Heaven Must Know' continues on a mid-tempo sound distilling a haunting soporific track; the synth puts back in order of battle by offering a nice variation with jazzy break piano; marshmallow title without a hitch from the 80's where Steve's second solo hits the mark, warm, all in crescendal development, raising the mood. "Mad Kings" changes its tone with a NEAL MORSE sound; good Jake Livgren and Eric Gillette are there, a sign? It deposits and launches the album here irreparably, a little KANSAS in the background, neo-rock prog nervous like the madness of men of power wanting even more; the drums turn up the tempo even more. "As Dominos Fall" for the intermediate title, a long instrumental piece half Latin, half jazz-prog for scales, a colorful piece with Pete on bass. When I say that they are much better and have fun especially outside their group MARILLION these two, in short, prog that's it too; Ricky Garcia releases an electric solo boosted by Frank's performance at the controls, then another acoustic limit then the final which explodes.

'Coast Cards' with Liza a voice reminding me of Stevie Nicks, marshmallow and languid title here; it's soft, calm, a walk on a moonlit night; small soft synth break halfway that gives a more sustained rhythm for a while. Playful, dynamic 'shadowplay'; the intro with Marco on drums and Frank as a very good keyboard technician print a seasoned track, warrior, nervous, rhythmic, frenzied; this is the second instrumental that gives prog nobility to the album; the guitar solo juggles with Marco's percussions; I find there the creative madness of the TOTOs. "A Change of Mind" in three parts, stereophonic spatial intro that reminds me of a title from Cars, piano variation on a keyboard giving the rhythm of the electronic APSARAS genre, rise ... progressive. Title questioning on hidden evidences, referring to the title on this impossible triangle. Musically Marco and Pete are in charge of the rhythm while Finally George sings with Frank; good Frank is a magician since he made me doubt his album early in the journey and manages to raise the level irreparably; from there to say to himself that he did not need so many guests I ask the question; track to listen to several times with for its latent atmosphere. The two-part 'A Compendium of Life' closes the album with progressive instrumental in which Todd and Lars handle the rhythm section expertly; a cheerful, spirited, energetic, progressive track; a title with numerous breaks, dithyrambic convolutions, symphonic then oppressive musical loops; nostalgic moment bordering on melancholy, acoustic guitar to meditate or cry on the unfolding of one's life; I repeat that Frank has a gift of organist which can send very high in musical limbo even more on this dantesque final, yes the word is said!

LEGACY PILOTS has just released a controversial album, very agreed upon at the start despite the appearance of many guests (Wilson, Marillion, Kino, Arena, Proto-Kaw, Styx, The Aristocrats, Lonely Robot or Neal Morse) drawing on rock-pop declination prog. You have to let go to understand the musical progression of this journey that awaits you and risks sending you into sophisticated, epic and progressive meditative territory. In short, I am leaving to recover from the last two.