OUT OF THIS WORLD

"Out of This World" for a major start, piano and grandiloquent, symphonic orchestration, MAY-style guitar, a sound unlike any other, twirling, a little AOR, a little on the best KANSAS; the superb voices on the singer of Martin BARRE, I read a musical diamond, I confirm; grandiloquent and majestic with choirs and strings, it starts strong. "Waiting" on an entry riff from CARS, airy and eclectic guitar, the voice on that of MAGIC PIE or BOWIE, a pop-rock ballad title from the 80's in the era of pop; the guitar pulls out the notes, tweaks them and leaves for another musical space. "Under a Scar" and the sound of QUEEN's plaintive guitar, a moment of music like a film unfolding in front of you; the strings get started, bring up the theme on the prog opera, that of the 70's of 'Phantom of The Paradise', the jousts of MEAT LOAF and QUEEN again; it's rhythmic just enough to make you sway your hips without forcing the neck of the femur; Bart's voice melts on this glamorous finale, full of emotion. "Kaja" for a musical break, an interlude with piano and spleen guitar that will make you melt; the second part with the solo which rises even higher, a symphonic anthem. "Mystery" with vocals in harmony, piano and vocals for a radio edit; a pop-folk song with sounds reminiscent of 'Love Is All' from afar for the symphonic part, a little ELO too. "Critical Mass" for the intro to The Exorcist, no but you believed it, bells in any case as an intro; it starts on JETHRO TULL for this voice, on FM rock, the enjoyable piano-guitar digression framed by the drums and the synths, the surly solo which hurtles down the notes; it's beautiful, fruity, airy; the following break on a romantic spleen which reminds us that we are indeed on prog lands here at the ARENA with a worked ending, take the lead. "As the Crow Flies" for a title that goes everywhere, drums and synths to the fore; a haunting groove track, a little TOTO behind it, a romantic bluesy tune for a soft COLLINS-style melody, to be taken as an interlude.

"The Way She Said Goodbye" short acoustic track, piano, guitar and synths to accompany the voice on an intense love story. "Traitor's Gate" for a spicy, energetic title eyeing the dynamics of TOTO just for the keyboards, an aerial pop solo. "Distance to Your Heart" surprises with the ELO intro with these progressive strings, a smoothly conducted 'Kashmir' bass and a beautiful and redundant melody, the Mayesque solo still resonates. "Red Rag to a Bull" for a concentrated title and concentrating prog in all its forms; from the intro to the rhythm, from the chorus to the sounds with reinforcements of solo synths on crystalline guitar notes, final stage in the distance then a small choir which leaves. "One by One" à la Leonard COHEN finally Kristoffer here for a song about our inevitable future end; simplicity of vocals, violins and emotion until the progressive movement pulling towards the starting anthem towards there! Country piano to digest. "A Writer's Tale" for the moment and monument of the album; majestic intro, pompous in the good sense of the word, strings, speaking guitars, expressive; the chorus, a folk beat, slides towards dancing choirs with Marcel's guitar and takes on a QUEEN-style rock opera, rhythm'n blues, then musical soundtracks of the 70's and 90's; from KANSAS, STYX, QUEEN, MEAT LOAF, from the grandiloquent KAYAK. "Cary" for a short burlesque interlude, BEATLES lineage on a plot on the accordion, bordering on folk and psychedelic. "Ship of Theseus" to close the album, Robert Wyatt-style voice, serious symphony on horns and guitar, a title which denotes by the musical rupture, a bit of the madness of BOWIE and the piano which tolls the death knell.

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