ABOUT FACE

One day someone told me, but it would be funny if... Anyway I had it so I dusted it off and put it in the player, and I tried to forget my note from a few years ago! 1Until We Sleep and it starts with a sound that looks like Killing Joke, underground Bowie; yes it resembles it but like Canada Dry not quite; a monolithic sound with the reverberating guitar, the hide-the-misery choirs that refer to 'The Wall' yes still like the stammering break; you have to put it in context, 1984 was deserted, almost no one knew about Marillion and Gabriel had changed course; in short good for the guitar and this tune that sticks, this Gilmourian tune 2 Murder for the little ballad of time and the wink to his best enemy Roger; yes this explosive title with the chorus smells good 'The Final Cut' for the desperate side; organ, screams, ah a guitar that goes better, low profile; look at Sorrow, Animals but more raw, David revises his scales; his art is still what he is capable of getting out of the neck, a heavy sound that would have pleased many hard bands, in short 3 Love On The Air which starts slowly and goes year after year on US tracks, I think of Springsteen for the organ of time and the phrasing, the power of the title; in short it's simple it doesn't look like much but it goes very well 4 Blue Light come on a little more sorrow, ah a little Collins and his famous the west side; in short the sax is not for me, so I dodge the issue, idiot for the drift with the tribal percussions that go off the rails; in short for once that David leaves his comfort zone, I have to align him; the organ solo is good, the final solo ah I did well to go all the way, there is no blank in this title finally, but the sax, the brass no really 5 Out Of The Blue for the solemn ballad, the one that grabs you by the guts; how in 3 minutes flat you can leave with David; from a consensual air as possible with orchestration you go to the Floydian atmosphere without realizing it

6 All Lovers Are Deranged ... the reason I lowered my rating, not prog enough so far from my papillary ears... a good US rock yes I write it in which he must have had fun 7 You Know I'm Right monolithic arpeggio, a guitar, his, hey a zest of Blue Oyster Cult, a haunting air and then the voice à la Wilson for a heavenly jazzy sound, yes it goes far, ah the trumpets, hey some ELO while we're at it; the orchestration stands out, even more so when the typical solo comes out of the neck; an attempt to find, to calibrate new prog perhaps, I don't know but it's always nice... 40 years later 8 Cruise for the Kansas ballad, very nice; 1984 was the year of the most progressive 'Alchemy' possible, it's funny that I make the connection between the magical guitars of David and Mark; oh yes the melting organ that Alan and Guy played in Dire Straits; come on a zest of reggae, yes the music is universal, but the Hammond is still there, I see the coconut trees 9 Let's Get Metaphysical for the instrumental that makes me drool every day when I listen to it; thank you for asking me to go back! In short, the majestic symphonic prog piece, a bit redundant all the same; the solemn side that transpires, the absolute foot, nothing else; if I replay! 10 Near The End where we wait for the last marshmallow ballad, it is the case with an acoustic solo that makes the speakers quiver, they appreciate it; in short marshmallow.