RISING FORCE

1. Black Star divine arpeggio before its time, 1984, remember the moment, prog is dead, metal is good but loud, new wave too synthesized; and then suddenly comes this OMNI from a Swede who dares to mix hard with classical music; this guitar that throws notes faster than your breath, the delicacy of neo classic rock, neo classic metal, the future of progressive metal in my opinion is well passed by Yngwie; the ambient variation, latent on a minimalist synth which gives all the consistency of this outstanding guitarist 2. Far Beyond the Sun with the sound that takes you back to Rainbow of course, with a harder base, a more nervous flow but always this never-ending cascade of notes; when I use the word twirling it's initially for this kind of piece, the one where it doesn't stop, where it goes in all directions, where all the instruments play their part, the synth with Jens who started clearly in evidence despite the deluge of fire from the guitar, the bass, the drums and again this guitar which seems to be double at times squirting higher than me you can't. An example of an ultimate piece that leaves you speechless; considering the time it was the maximum quintessence 3. Now Your Ships Are Burned fatter, hard vulgurus? nay, Jeff who sang for Talisman, for Journey, Axel Rudi Pell and the Sons of Apollo recently put his vocal cords on this title combining classic, folkloric with supercharged flamenco and hard rock; his harsh voice contrasts with the crystalline notes coming out of Yngwie's guitar 4. Evil Eye with the killer arpeggio; too pure, too beautiful, here's another Steve Howe style, flamenco in the background, front, hard riff on top; a piece made up of breaks, built with scissors with an evolving crescendo, yes that's the goal, a sound that will scratch at the door of Beethoven, Al di Meola, Santana, Blackmore his master; take a solemn break with a drum roll like in a Candice Night, premonitory I am writing to you; the keyboard solo is divine so jealous Yngwie increases the level, still possible; well the musicians' waltz will only end with the wisdom and jealousy of the guitar hero in the making, that is to say never; sublime title which plays in my headphones for the second time during this column, ah even the piano is beautiful

5. Icarus' Dream Suite Op.4 ... yes I got up, I changed the side of my K7, yes the dolby removed to have more treble; the beating metallic intro, we wait for the riff if we are in the hard terrain... bam the soft synth launches an Olympian guitar solo, the kind of thing that grabs you by the guts. Let's be clear, it's between metal and classic, between rhythmic and latent, it's not created yet, it's about the birth of a new genre; the arpeggio seeks itself out, launches itself and is supported by a hard rock base and a thunderous solo made of red embers; a little further, the sudden break with the neo-classical spirit, a mandolin? declines, breaks the rhythm and twists your neurons; it goes back to the work started by Ritchie and his 'Difficult to Cure' for a clever mix of genres; come on harpsichord, riff hard together, slap this title with this languorous finale, not gripping, not familiar with the Angels 6. As Above, So Below and the journey into the cathedral with the organ, solemn yes before the sung title, rare ultimately but testing this new sound with and without vocals; the rhythm is intended to be orchestral hard rock if that could have made sense at the time, no. This avant-garde sound did not exist, hence the obvious name OMNI; during this time, a keyboard-guitar battle was put in order and distilled a Dantesque solo on an innovative musical range; drugged by this sound that didn't exist yet 7. Little Savage with an aggressive heavy rhythm straight away, plugged into 540 volts and surprising Al di Meloesque flamenco expulsions; yes we are close to the musical fusion crater which will finally bring a few years later the progressive metal genre which will boost decadent progressive rock, this vintage genre only thinking of copying itself without wanting or being able to evolve. Well, this little savage Yngwie rushes headlong into the blaze and doesn't ask any questions; he shows what a guitar hero is, he does more than he should, he overplays no, he plays divinely yes; the keyboard imposes the rhythm on a more conventional basis to avoid losing the new listener who is lost in the face of so much beauty; it increases, Yngwie multiplies, god I tell you; the end is too abrupt I am in a trance and want to stay there 8. Farewell to sum up the purity of the sound on your speaker, an arpeggio treasure to come down to earth.