DOMINION

1. Amor Fati as a hilarious intro, between old sounds of yesteryear and solemn air of the French horn, of a world where the Gods would be present among us; choirs, memories that disturb and challenge 2. You continue this undermining work with the confirmation that this sound is not like the others; old and innovative with these groovy, dancing, jazzy and evolving atmospheres; the sound goes like a mint diabolo in the middle of the desert, the fresh sound, I hear GENESIS for the vintage keyboard with an air of EARTH, WIND & FIRE, disconcerting I write; the best is this fuzz organ that makes you regress without going too far back, it's this guitar, these choirs, this sound that smells good of our most distant memories; in short I persist 3. Bushnell Keeler for the fresh melody, a hint of TALK TALK now, with sax or clarinet, flute yes, everything is there, the trumpet and this vintage synth that makes the ears vibrate; yes vintage prog as I don't like, but which is listened to well; enough tone not to fall asleep, enough break to keep you in suspense; this is where the creative level of this composer comes to light by offering a guided progressive descent on the sounds of yesteryear without fear of taking... a blow of old

4. Uppmärksamhet with a lugubrious atmosphere, latency searching for its voice; an interlude that passes too quickly and which explores a modern contemplative psychedelic sound 5. Reality Tunnels leaves on a convoluted atmosphere, sharing electric, eclectic and fuzzy; dynamic and dynamiting the air, on one side with the metronomic bass, on the other with these keyboards from another age that make us regress to the chases of the Anglican bandits of the last century; here's a harpsichord, here's a bit of that of MEER who rush into modern synth-pop-prog with angelic voices; 6. Wetiko Approaching and the PARTRIDGE interlude, yes the sound of XTC explodes in my head; between jazzy and the music of an asylum vault; here's a bell, it vibrates, we wait to see how it will behave 7. Toxicity and its 1/4 hour of musical bewitchment; harmonies, complex time signatures, tricks with this twirling vintage sound, a tune that doesn't stop, Andrea's drums playing for LEVIATHAN printing the energy, the organ that vibrates and gives consistency, everything is there well done, well organized to set fire to this resolutely danceable title; yes danceable, reverberating, nostalgic. This Ryan is capable of divinely playing the Mellotron, Hammond and other keyboard organs to regress to ancient territories. But the best thing is that it sounds fresh, cheerful and innovative like this high-tone finale, almost heavy before the return of the wise flute, in short like GENESIS did so well in its time.(4.5) Originally on Planète Prog.