SEVEN CHAMBERS

"Broken Heart" begins fast, symphonic and Truey slides his voice over a Genesisian, Arenasian air, with a languorous keyboard; the reminiscences arrive, IQ first, it's well done, it seems like we've already listened; the melodic break that follows with a typical MAY sound for this spleen guitar and the crystalline piano before the final heavy riff where you have the impression of riding in the middle of nature with your hair blowing in the wind. "Something Invisible" now, softness more pop than rock with the guitar in the background; a riff, heavy, it's good, it's fun and it prevents you from falling asleep like in a good but soporific vintage prog band; in short the voice is well placed, well practiced; a funky jazzy tendency emerges leading to an acoustic break flute and classical piano sympho from sympho; a gypsy violin now and a twirling violin-guitar hardos finale which reminds us that this group is much underrated and worth much more. "Bittersweet" plaintive nursery rhyme title just enlightened enough to keep spirits up; it draws on ALAN PARSONS, the second version of GENESIS, it's bucolic, refreshing, the violin can suggest KANSAS, I would rather think SOLSTICE; the synth break suddenly for a surprising ZAPPA-style escapade, heavy then jazzy, swirling in any case; we feel that there is fun in the ranks with an airy violin from Steve at the end. "Mania" from the start with this majestic and struck air sending me back to ARENA; yes it's not ARENA but there's some British sound flowing there; from the 3 minute mark the keyboard and the guitar show the end of their notes; John shows that a prog band must have a very good guitarist to melt the atmosphere, this is the case; playful prog metal with symphonic waves; halfway through and tribal pad before the flight, the vocoder voice, it leaves again to leave a violin solo and another break where the guitar riff seems to spurt out of the speakers; no rest before the finale, a quarter of an hour has just passed, the slap in the face. "The Stroke of Midnight" on a consensual dark ballad ideal for regressing, notice to the basic progues of the 70s and 80s; the romantic violin break that will make you cry with joy, like a bottle of white rum at sea, yes I heard the tune at one point; in short, a versatile composition full of emotion with the addition of classical guitar music and Truey irremediably standing out from the voice of the Archangel.

"Helen" arrives and takes us on board, the first of two great titles; changing musical times, that's for the fan musician in his spare time; a latent atmosphere, of UNITOPIA, a sound which irremediably takes you towards pop-rock, folk, jazzy shores, on nervous beaches, well I heard a note of 'Kashmir'; it's long but it's good, the melancholic violin matching ideally with the bucolic ballad on the sand; a one-shot flamenco break that fits perfectly, violin and piano crystalline, delicate, enchanting; it increases, choirs, a heavy riff, the break that sinks you and bam a voice-over in French that puts you on alert; the crescendo gets the boat going again, the sound becomes heavier, there is a plot, a framework, there is art; captivating and catchy yes but immense, timeless, it's rare that I vibrate from the first listen; in short, there is everything in musical theatricality, in emotion, in exquisite notes. "The Uncertain" go a few minutes and I find tunes from the BEATLES, XTC, ELECTRIC LIGHT ORCHESTRA, archaic musical line; Hurry up because it's moving suddenly, the nervous prog metal that comes tumbling, makes you sweat suddenly down your back! The riff, the voice, the bass, it's a bit like SONS OF APOLLO, but it's definitely UNITOPIA; the beep beep and the pad remind me of the B-52's, an anti Alzheimer's dictionary that title; the sublime flight of keyboards and violins and we are only a third of the way through. The break arrives, take a breather after this epic, refreshing and dreamlike hard prog moment; oriental, world, latent, spleen with this magical violin looking towards the atmosphere, a very American AOR ballad atmosphere to take shoulders to shoulders and merge; last third and MINIMUM VITAL vocals on the heavy riff with a video soundtrack synth that leaves me amazed; and a South American return which accelerates and which puts prog fusion rock in the spotlight, still immense.

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