THE APPROBATION

1. Østerdalen premonitory guitar arpeggio of a new sound? 2. The Pale Moon confirms my words, an imposing djent riff before falling into a soft Opethian tune, haunting with Edvard's guitar; soaring reminiscence, spleen dark-melodic; the final vocal growl can surprise the sleeping progue, come on OPETH had suffered the same criticism 3. Isolation follows on a more nervous rhythm, drums and heavy riff; it moves with the triple pedal; vintage synth break and dark solo which continues on a contemplative tune from which we expect the explosion; title which seems instrumental because the voice is associated with the instruments and a final keyboard solo from the time when prog metal did not yet exist, well if that of Anekdoten for example 4. The Great White River arrives, well it's AVKRVST but this Kashmiri tune in the intro is serious; Simon uses his voice on a fruity, surprising pop tune, on Talk-Talk for example; halfway through and the variation with the chiseled riff and the growl voice... and then it goes down again and we wonder if we didn't dream of this surge of sound

5. Arcane Clouds continues with Auver's very romantic, melancholy vintage keyboards, forcing memories; AVKRVST launches a separate sound with old and modern, to attract a little the large sphere of prog fans, in any case it's well done! 6. Anodyne intro of 4.5 minutes, soft, explosive, catchy with again this keyboard borrowed from Deep Purple for example; throbbing guitar, yes the key word of this album. The warm guitar arpeggio as an announcement of the vocal, we come closer to Scandinavian musical experiences there with the image of snow blowing on arid, desolate steppes; slow dark pop-rock piece with echoing vocals, then a cappella vocals to finish this oh-so-singular track; a layer of cinematic sounds, rain and passing train, launch 7. The Approval for the consecration of the opus; rolling drums, acoustic guitar, Mellotron in the distance, the tone is set; then Simon sings in vocoder, sampled voice, on a Wilson in research, on an experimental OSI; the bass and drum bell are aided by a heavy, heady riff; 3'30 and this vintage prog rock psyche break à la King Crimson on 'Red' then Edvard's heavy solo which brings a violent crescendo musically but emotionally calm, return of bells and wind and the guitar arpeggio returns with the organ hot which leers on the astonishing solos of Adam Holzman with a melodic variation, plaintive, warm, intimate... Major!

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