MOSAIC

1. Mosaic shows his admiration for Mostly Autumn with this acoustic title at the beginning featuring Maartje's voice; I also find a bit of the Corrs for the light air and the riff with Magenta connotations, a nice comparison 2. Is This It? continues, a bit of the Cranberries in the intonation, the dark heavy riff, Ingo launches gray notes, sprinkled, a bit of ambient with Ruben's bass introducing an ambient post-rock climate; the Gilmourian guitar in the background, Maartje in echo, the sound evolves pleasantly; the final flight with Bob's molten pads, the oriental atmosphere all that does not leave you unmoved; the dark, grunge, nervous finale, 3. Somebody Like You on a jerky, syncopated air, on a tune that the Gathering could have created, or Anathema with this sensitive, melancholic and touching guitar; 4. The Geese for the nursery rhyme with the vocals in front, a piece with a simple and captivating crescendo, the voice rises, imposing; the rhythm swells, there is emotion in the air, the warm choirs amplify all that in less than 4 minutes

5. Measure of Things and this ethereal voice of the 1001 nights; there are many groups with female voices now, with the singer in front or as an artifice; here it is the fusion of the two, Maartje being able to put herself forward and give free rein to her fellow musicians; The Gathering mixed with ambient and grunge is what I find magnificently put into verve in them

6. Dystopia electric guitar and cascading bass, voice-over, a solo with organ from the time of Pink Floyd and here is this title propelled as its name indicates into a strange universe from which one cannot escape. The chopped drums hang up like an endless wave to keep us in the middle of the canvas; the ambient break forces introspection, contemplation, the guitar solo sends even further assisted by Maartje and her dreamlike voice, flagship title for those who are lost 7. It's Never Quiet goes to the ports of call spice trade; a flute, a medieval, oriental, Celtic folk tune, we are disoriented in front of this typical piece, we are never calm, a beautiful exercise in style to hear the voice rise; the finale again heavy, atmospheric which could become doom if the instruments let loose a little more 8. MXI as an interlude cosmic ballad with melting spleen 9. Two Faces as a happy ending with the piece in two parts which rise and cut by an ambient piano, where the post- rock spirit declares itself at its maximum; the latent flight with the Mono guitar then the aggressive riff of Eleen and Ingo for the apocalyptic but controlled finale, a real quiet force.