EVERYONE INTO POSITION

1. The Charm Offensive with a new sound that arrives, with a touch of hard, another of grunge, another on ALICE IN CHAINS, SOUNGARDEN, then some Psychedelic/Space Rock I don't believe in it; an uphill, captivating title that cleanses the ears, 10 years before I had pleasantly suffered the arrival of SMASHING PUMPKINS, 2. Heaven Alive for a rock title that aims to lean towards the hard rock of yesteryear, captivating 3. A Homage to a Shame goes even stronger, haunting, stressful, hypnotizing, syncopated, a violent riff and soft vocals for a thunderous musical unfolding; a violent sound which by dint of increasing would become catchy, well for the moment it's ultra violent and the prog blood is well blocked; but what a killer this title is 4. Meredith changes neighborhood; premelodic sweetness and throbbing sound, psyche marker of backward SMASHING; melodic like water flowing out of the mountain and which does not know where to go, the length gives the progressive sense as on TOOL for example, yes the prog hides under the rock and diffuses its air 5. Music for a Nurse hush an OMNI is there; this note, this note, this piano key, the reverberation, the monolithic sound, excellence sometimes doesn't need much; Mike speaks, it sounds like a CURE psych track; it goes up, the post-rock sound at its highest point, on a more rock SIGUR ROS; one of the most beautiful crescendo in the history of rock quite simply, Dantesque in density

6. New Pin for dark rock, post from afar, a slow consensual ballad where the shadow of CURE hovers over it, paradoxical given their musical origins 7. No Tomorrow but yes still a reminiscence of SMASHING PUMPKINS in the good sense of the word with this flowing variation and this deluge of the chorus; break on a TOOL tune which doesn't look like much but puts you in a trance and throws some prog blood balls at anyone here; final drums and explosive riff, enjoyable let's say it 8. Mine Host for a little 'Music' for the intro, the rest leaning on cold psychedelic rock, that's good; title too short to take as an interlude after the flood 9. You Can't Keep a Bad Man Down more math-rock, more into it, more rock yes but; the break which cuts through a spatial psyche time before the collapse of the supersaturated dreamlike chorus; the ending is a bit heavy, too predictable but given the previous pieces I had to act grumpy 10. Ornament / The Last Wrongs barely perceptible sequence with the post-spatial intro, some Floydian sound effects I hear an oar and a crystalline guitar, a delicate arpeggio which reverberates; a Nursian facsimile but not 3 minutes and the energetic, electric rock sound occurs; a voice, choirs for a rising air, for a vibrant and latent finale, yes the psyche is even expressed in a distraught atmosphere; the pleasure of still hearing the organ even if the sound goes down, down... down.