A CELL TO CALL HOME

1. Water for the latent symphonic, atmospheric intro, bringing the sound of a sparkling FM alternative rock; marshmallowy, cottony verse, borderline vocal phrasing and a danceable pop-rock riff; the prog section is played in the calm break and a lit guitar solo before a crystalline piano finale 2. Snow Child which ends with this too fast interlude 3. How Did It Get So Good? arrives for the slap; nervous sound, softness of the air on an electrified STYX, bold synths and solos including one from Randy from PORCUPINE TREE; enjoyable, creative, non-regressive moment with an adrenaline rush 4. Rain On Open Water for the radio pop-rock moment, a well-calibrated consensual rock with another beautiful melodic guitar solo; on AOR on a used sound from the 80s anyway, I who criticize vintage retro I point out 5. Your Flaws with Kristen in female voice on an acoustic which starts with a nice melody, marshmallow again it's beautiful but 6. Truth follows, BEATLES tune at the start, Kristen this time in harmonic behind, the riff is intended to be chiseled like the dueling voices; electro pop rock a la PURE REASON REVOLUTION soft, interesting for the piano derivation halfway through and Mike's rap; a sweetness which applies to the basic melody hooked by the final heavy riff

7. Calling It Off goes to a different sound, yes on Steven WILSON directly, incredible; latent musical space, melody chopped up by the riff now factory paste, yes US rock between metal and prog, with a more incisive voice a bit from ENCHANT; the progressive variation arrives suddenly, a little piano from MOTORS in the distance then Jordan's solo, yes still a masterpiece, it's not for nothing that I love DREAM THEATER; perfect and progressive 6 minute piece 8. Control muted bass in the intro, psychedelic jazz-rock, Rylee smooth voice; a well-calibrated and fresh air of US rock; dark break, imposing, final of 'The Wall', tormented and the sax which leers on the KING CRIMSON, on FOREIGNER, bursting until the wind finale with a warm accordion 9. Maybe changes climate on an acoustic and metronomic right drums; a beautiful ballad with a crescendo then latent piano variation and guitar arpeggio for a bucolic moment, fresh, airy and full of happiness, which changes a little from the dark prog tunes, an tune which segues into 10. Cell To Call Home where we feel like Fripp's 'Talk', ENCHANT's 'A Blueprint'; arpeggio and suave voice, on a rustic ALAN PARSONS; we go into 2nd gear and the fruity air hits, very much in the US vein, yes that's how it is; I find a pell-mell of good recent FROST*, WILSON again, the solo of suddenly Randy or Rylee who floods the piece halfway through, without warning, obliged to put it back for the trouble; well it starts again with a vengeance, perhaps a tad too melodic at once; the vocal feedback on the ballad avoids the explosion that I expected and introduces, yes, linked titles 11. Hold Me for the Wilsonian ballad, slow 'plananto-rockian' drift yes; a bit of a riff from FLOYD's 'Animals', it's beautiful, soft, it flows, it slides, it's beautiful, well calibrated and it lacks a bit of bite, but for a melodic album it would be perfect; Olympian choirs suddenly arrive to amplify the hypnotic melodic tune; in short, a slap in the face of this album.(4.5)