FOUR SIDES

'The Oldest of Trees' fat synth, the sound is there; a warm voice is added, a slow tempo, a bass and Ken's keyboards start up; direction Genesis second version; drawers, staircases of sounds that eye Elp, Camel, Clepsydra, the voices of BJH; it swirls with syrupy enthusiasm, a modern sound like this break halfway through, whirring then soaring, symphonic and aerial; drawers with batteries and keyboard breaks from the time when we took our time; in short, no real progressive structure, ambient-melodic music. 'Eris' surprises with its breezy, atmospheric intro; electronic, latent, aerial, S-F music, on Tangerine Dream of yesteryear; 6 minutes and this breathtaking rise of the church organ, a surge of notes and it sets off on a very linear, swirling and symphonic trip!

'Twenty K' 3rd and final long track; well-orchestrated and consensual verse-chorus title before the eternal progressive drift, Kelly's guitar solo which played on Negus combining admirably with Ken's keyboards; a musical epic title which reeks of bucolic freshness and quality of orchestration. 'Moon to Follow' for one of the two short tracks; very good melodic and symphonic prog, sound reminiscent of the melodies of Genesis, piano drift of immersive counter jazz then piano, keyboard rise, hop two Genesisian notes which smell good, I'll let you guess which ones. 'Afterthought' for the instrumental, a grandiloquent neo-classical bucolic reverie, a great lyrical epic transcending the piano, ending the album by putting them forward. (3.75)

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