STAY FOR THE ENDING

"Stay for the Ending" puts its feet in the dish directly offering a convoluted, nervous rock where Leslie's voice denotes common progressive voices; here it is soft, plaintive, playful, rhythmic, like a very complex tune, a bit on a more symphonic RUSH; a strong sensation of swirling music; the break with a crazy prog metal solo and a melodic keyboard, it starts strong. "Mirror" with the limpid, liquid, progressive intro; the riff that follows sets things on fire, the phrasing drives the point home, the tune does not fit into the conventional progressive shackles, here it is energy, flexibility and worked harmony; the piano, the tune of a Joe JACKSON who would have thought rock rather than pop; the violent break with drums and guitars before being joined by a solemn piano; Leslie and Jim for a PORCUPINE TREE-style finale and an enjoyable crescendo, a slap; At one point I thought I heard Peter GABRIEL telling you this. "Many New Things" and the opening slap, ambient air inviting lethargy, electronic pad which drifts on a new wave pop tune à la Björk, striking; the Frippian redundant bass of Tony LEVIN in a dream; a Crichtonian guitar solo yes SAGA is in my ropes, in short it continues. "Crossover" yes, a juice from MEER that I loved recently, a fresh sound, hold the keyboard which plays it "perfect" like Adam HOLZMAN playing with WILSON; ah the heavy break chorus à la 'Thrak' which accompanies Leslie, it seems out of tune but it's super worked, complicated, disorienting and hilarious. "Divided We Fall" starts with a nervous rock, pop tendency with Jim who comes to help with the vocals; an enchanting air going towards hushed groovy-jazzy and hard atmospheres, all well mixed; you have to take the time but it's very innovative, well done.

"Life Cycle" spatial, watery, crystalline intro; a Wilsonian bass to set the mood, a de facto ballad with a finale which will swell towards a more tense style and Leslie who delicately places her voice on top. "X" intro you will have understood, reading the following title; bass, thrumming bass, ethereal and "X-Faded" arrives, rock like Chrissie HYNDE at the start; very quickly a cavernous riff comes to throw trouble; Leslie in a loud voice, you have to get used to it, I admit, but afterward it's fun, not to mention Nirvana, sublime; piece navigating on musical sweetness/revolt and an explosion in the chorus which gives humidity in the back until the tribal finale. "Deck is Stacked" riff a la SUICIDAL TENDENCIES, SCATTERBRAIN on 'Here comes trouble', rhythmic, energetic, deep heavy groove, always a sound of the master JACKSON in the background; a break with a Zappian solo, on a well- struck FAITH NO MORE; prolonged listening, as in the days of prog, causes the sound to blend pleasantly; here is a drum solo in our time, amazing for daring to put Jonathan forward, he deserves it with this distinctive and singular hit "The Watcher" metronomic wooden piano; percussion by Jonathan, Leslie in a cappella; it finally rises to an agreed tune, the prog magic is in fact working; Tim's imposing bass; observer and creator of an avant- garde sound Leslie imposes; the sharp riff countering a childish piano melody just before the instrumental debauchery, a jerky explosion caught up by this piano; two-part finale with a captivating jerky sound.

DISTRICT 97 the group not the film with a 7 less, although in the film it was a crazy, incredible, caustic atmosphere; diverse musical themes, varied influences which give a unique sound; themes about the human experience with its ups and downs; a sound amalgamating various and new progressive rocks; a composition where the musical performance mixes and manages to give a new, prodigious sound; WALLENBERG who worked with ALAN PARSONS is not there by chance; a summary of progressive rock that ignores future criticism, an album with the sensitivity of MEER, with the angry side of a PORCUPINE TREE, a RUSH, a Joe JACKSON, a very beautiful album.

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