OMMADAWN

1. Ommadawn Part 1 with the Oldfieldian intro, choirs, crystal clear guitar, deafening bass already bringing the austere, dark, evil side; it's the 3rd album after the futuristic slaps of the era; 4 minutes and we set off, there are more electronic versions with a more sustained, less fragmented musical score; the climate uses a number of folk instruments which have made Mike's strength, melodic, bucolic sequences, bells, guitars which throw out notes like one swarms in spring, an invasive swirling sound; the feeling of participating in an oriental caravan every 10 minutes with an energetic solo... the flute comes for a beat before the tribal pad and its siren choruses, Mike's prog sound is truly unique; the final crescendo sets in motion with the cohort of instruments, it starts with a folk crossover, a music of the world, of worlds; a grandiloquent frenzy that raises goosebumps; the guitar will explode, just with a few notes thrown like the frantic cocorico early in the morning, go pad to calm down, phew

2. Ommadawn Part 2 (incl. "On Horseback") with solemn intro from the start, sound from up there, pompous; the keyboard which leers on that of Banks from GENESIS, syrupy, flowing its notes from a fountain; 5 minutes of dreamlike musical diversion leading to a raw acoustic guitar accompanying a bagpipe, a Scottish flute, we are in the Celtic mountains; the folklore boosted by Virgin offered a unique musical interface between rock, pop and the ambiances of yesteryear, the music became timeless; halfway through and the bouzouki invites itself to dance, yes it is a question of contemplative music which can also be danced; 13 minutes or so and this gap is over; the Penrhos kids come to give their voice to an arpeggio, that's it Mike has managed to convert us to enter this abandoned church far from all civilization, where the animals sing and keep the power; an unprecedented musical journey for the majestic time.

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