IN THE FACE OF THE UNKNOWN

"Chaos" and here we go for a unique prog metal; neither too redundant, nor too flirting with neo groups; a voice apart, a guitar solo that smells of MYSTERY but more nervous, a piece that would send you back to the ARENA side; listen to it to get your idea, I remain silent there. "Paralyzed" latent piano intro to keep the progressive link; metronomic synth, a few touches of Floydian guitar with the most beautiful effect to rock; it starts with melodic bluesy prog metal, the stuff that doesn't make waves; hold on a moment TOTO, another JOURNEY, KANSAS, STYX; the piano outro and languorous voice to end in peace. "Westminster Bridge" continues with the lavish atmosphere, heavy riff, old hard rock from the 70s, a zest of AOR and the neo heavy soft air, predominant part of FM keyboards. A progressive conglomerate with already a very beautiful aerial solo from Michel. "Requiem for the Last One" and the symphonic orchestral intro, more than 2 minutes, keyboards in front; a title that gives pride of place to the instrumental prog metal variation. This piece flirting with the 10-minute mark sends on varied prog territories, on the border of prog metal; more recent, more dynamic, worked.

"Crossroads" solemn, majestic intro, grandiloquent piano, it rocks; the giant ballad swells and unfolds a crescendo. This monolithic piece easily passes with a prog metal sound that looks at metal with the synthetic finale boosted with amphetamines. "The Miracle" begins with a goldsmith piano, delicate with an acoustic guitar, the rest is a ballad typed FOREIGNER with this cottony sound of the 80s; simple, effective. "Burning and Drowning" hop a note from Marianne FAITHFULL yes Lucy's ballad; perfect start to go, mix between voice and keyboards, sharp rhythmic bass; the sound increases, the riff heavy, a solo suddenly goes on a melodic prog metal refrain. This group has found its style, its own sound; the warm voice anesthetizes the few restraints that one could find. "Failing" choirs, latency, instruments in progressive order, here we go; the fleshy, charming, opulent keyboards; the guitar as a bonus in the US prog metal register, the one that goes from the ballad to the nervous riffs. A guitar solo from ARENA cuts through the air, Michel showing the extent of his talent. A whirling and languorous organ solo from the old days when one could laugh at the mastery of the musicians; pleasant crystalline yessian break highlighting Sylvain helped by a Gabrielesque flute, simple and superb.

HUIS offers a new register with nervous titles accompanying the melodic ones that were their signature before; powerful AOR, boosted ballads, melodic and punchy pieces favor a potential regression for many nostalgic progueux. Originally on Profilprog.