I/O

Column on the bright face for info: "Panopticom" direct attack, its festive rock to make you pale, well given the list of guests it's almost normal; the direct panopticon to remind us that we have surpassed Big Brother's negative predictions? Good mention to drums, bass and keyboard; so Peter always sings with a very beautiful voice, one that rises high in the musical spheres; so yes, is it still prog, the question leads to my answer: but it's simply Peter GABRIEL, unclassifiable; a warm, world, invigorating, melodic and catchy, progressive sound. "The Court" and the enjoyable regressive side of its musical imprint, not carbon; pads, tribal rhythm, fresh chorus to break up this rhythm; a verse with classic sound, listen carefully in Atmos for those who have it, yes this horn which really rises above your head, no you are not dreaming, Brian's piano surrounds the guy well, in short melodic, choppy and progressive in the soul of this piece until the airy finale. "Playing for Time" intimate atmosphere, counter jazz, a piano, Peter and a horn, I suddenly think of 'Here Comes The Flood' I can't help it; the violins enhance the souvenir side, yes Peter does not invent anything more than what he has already done very well; he extends his musical experience with this warm, languorous ballad, be careful not to play too much, the spleen will ooze from your speakers; well the chorus doesn't come in the end, a new title with a slow and long crescend which sends us to paradise and makes those who have attended his concerts revise, a unique experience. "i/o" for the eponymous radio edit, between 'Wallflower' and 'In Your Eyes', a title which is worth for its catchy chorus and its multitude of musicians, a real sound slap. "Four Kinds of Horses" follows, darkly, on a boosted 'San Jacinto', reworked after almost 40 years; a tune where snippets of notes take me back to FLEETWOOD MAC, ROXY MUSIC, TOTO not the EAGLES 'of course'; an invasive sound again, it hits hard in the speakers and it's nice to have it in this overrated world, this deep sound which protects you from the surrounding world; a crescendo, choirs, a rich orchestration which fills every cm³ of ambient air; much more prog this track with this break and this surge of violins; the instrumental latency resembles a mantra in formation, we move, we listen, we scrutinize, we remain silent. "Road to Joy" begins with invasive, metronomic keyboards; bam the rhythm starts, well that reminds me, good the Gabrielesque sound where you imagine him engaging in a dance step like on one of the many tracks of 'So' with Brian who uses his samples and ukulele; the basic verse with a violent bass that punctuates your sway, watch out for the femoral necks; it rises, it swells, it deflates.

"So Much" piano and voice for a moving, solemn title, ah his voice holds up well and takes us back to his escapades of the 80's, 70's, astonishing; a gospel choir or almost, a slow intimate melody, he whispers. "Olive Tree" ah you would think? from the album? bam trapped a dark air which denotes; well the chorus with brass refers well to its radio edit period which disturbed so many prog people wanting prog and the recognition of prog without the media; 4 minutes of military drums and synth sounds that drown, tangle, a GABRIEL-style musical break before the return of the brassy chorus; hold Phil in his chair must like this title I think. "Love Can Heal" yes 'San Jacinto' comes back to me I can't help it; Peter suspects it, so Linnea's cello is there to soothe my brain, not sure with her fingers and her voice; resume your neutrality Alain to write seriously; captivating and contemplative title, latency of flowing prog blood; just immense in bright, even more in dark. "This Is Home" with a commanding bass, a tune once again extending into his expanded discography; a tune perfectly combining his child's voice with the world, progressive orchestration; piece that takes me back to my memories by adding a little current touch; very good sound with violins in the distance which warm up and round out the sounds, the trademark tribal percussion and an air reminiscent of the 80s. "And Still" on a spleen, monolithic and metronomic crescendic variation, bass and violin before another break more melancholic; the latent air which scratches a few notes of the repetitive ambiences of Philip GLASS for a recurring air, a contemplative moment; there is no prog strictly speaking, just sounds that are similar to it, creating a unique, sensual and melodic climate. "Live and Let Live" no, it's not WINGS but a title of hope about our life to be savored until the end; the finale gives way to Manu's clear drums, then neo-classical sounds are added, yes from a distance we could think of the tune of 'Biko' but with more cheerfulness; the backing vocals of the Soweto gospel choir only reinforce this moment. For the dark-side those who will see a stronger, emotional, dark mix will perhaps be right, they will have 25" more duration with the last title and its stretching choruses; otherwise I'll let you listen to the difference yourselves.