STRANGER SKIES

Ellesmere style of Genesis also reminiscent of Syndone, Camel, Rush and King Crimson.

'Northwards' symphonic, medieval intro on heroic fantasy with Clive delivering a bucolic arpeggio; lush trumpets for the hero's arrival; 2 minutes of pure joy preceding John's voice flirting with Collins as if Genesis merged with Rush; majestic, airy prog rock and a very beautiful guitar solo; 4 supposedly chilling tracks that warm my ears; 'Tundra' begins jerkily, the tundra sounds very pleasant with these bucolic synths, one of which is used as a fast rhythmic base; the Genesisian air second version in reminiscence and a Rushian break for a refreshing variation; choruses eyeing Yes from '90125' before Giacomo's solo assisted by Riccardo. 'Crystallized' glacial guitar arpeggio; refined musical interlude supported by a powerful bass and David's twirling sax for a syrupy melody; final Genesis 'Dodo' era. 'Arctica' short, intense, the reminiscences don't fade away, an updated, non-regressive sound; we feel the evolution in this playful symphonic journey with the omnipresent keyboard.

'Stranger Skies' warm vocals over a religious bell and organ of the same ilk; RPI procession like old times; about a Jethro Tull and a wacky story of more or less terrestrial fish; John on the flute bewitches by putting himself forward; John the other has this similarity to Phil with his vocals lulling us with a majestic, magical, liturgical melody; very well delivered with a repetitive ending which lets in a bucolic flute solo, which finishes off the progueux in need of an epic title. 'Another World' wow, it's serious from the start with this prog metal tune and the easy riff in reminiscence; the nervous sax then melting marshmallow; the rhythm evolves, dense, taking you to a space of time that passes around you; Giacomo launches a heavy solo, David calms things down; the metronomic air with the invasive vocal flirts on Genesis if they had continued, refined; a crimsonian break occurs, vibrant while Mattias hammers his pads methodically and Stefano sends us back into a regressive atmosphere with his Mellotrons; Tomas from the Flower Kings finally comes to bring everyone into tune with a psychedelic arpeggio; schoolyard voice, spatial sounds, the slap with a final disturbing rumble.For those who like the second version of Genesis.(4.5)