PICTURE

A modern album in a progressive world not yet ready! 1. Losers' Day Parade and 9 minutes of pure prog metal with a rough air at the start, a Beatlesian break, like Charisma country label; 2005 was once again the end of the prog, revival or other era and apart from RIVERSIDE it was with KINO that prog could imagine a future; so yes the drum of PORCUPINE TREE, the keyboard of IT BITES, the bassist of MARILLION and John of ARENA we couldn't imagine better; this piece is of delightful beauty, the voice is beautiful, Melissa's vocals melting, an air which smacks of the madness of QUEEN with this hardcore guitar, the progression oozes from everywhere and the heavy side gave its letters of nobility which avoided the soporific vintage revival 2. Letting Go follows on a melodic ballad with a keyboard in the background eyeing that of the WHO and a languorous guitar; the rhythm slowed down, more symphonic, romantic-rock with the rose of Provins; it's more marshmallow and the group already seems to be searching for a typical sound 3. Leaving a Light On with a soft prog metal ballad, well delivered; you have to wait halfway through to get your dose of prog break with synth and drums then John's heavy solo which finds its marks well with a heaviness in its notes, the plus of this title 4. Swimming in Women delicate piano, crystalline arpeggio, it goes up, hold a SUPERTRAMP tune in the distance, this sound really varies; the variation continues on the Arabic keyboards for a sensual piece; rolling of notes, crescendo bringing the hairs into custody, simple and effective 5. People for a melodic piece where the keyboard plays on the fingers of Tony from GENESIS; the voice starting with that of Ray WILSON in fact; the orchestration starts with an ARENA-style guitar solo, yes riff and mixed keyboards

6. All You See piano arpeggio starting a marshmallow melodic title, musically speaking dripping with catchy spleen tones; it's beautiful, it's made to embrace oneself and begin a languorous dance 7. Perfect Tense flirting with 80s AOR ambiances for stadium rock 8. Room for Two follows with a fruity pop rock with its dose of keyboards to have a good time without more 9. Holding On with one more guitar arpeggio introducing a similar piece at the start; yes but its length allows an evolving break based on the drums and keyboards, John performing like no other in this register; in fact we don't wait for the guitar solo with ardor, we let ourselves go, invaded by both; at one point time stops we are there no longer dissecting, blissfully listening to prog magic when you hold us! 10. Picture as outro, solemn, intimate title on a piano arpeggio which accompanies the voice becoming monotone, cold (4.5)