THE TIME MACHINE (FEATURING MARCO GRIECO)

"The Time Machine" grandiloquent, orchestral intro, clockwork; Maria's violin, a touch of piano and Serge's voice for convoluted baroque prog; a time when the rustic flute recalls, in a mixture of emotion and old-fashioned keyboards, the rise worthy of a SAMOURAI OF PROG quite simply, with the majestic symphonic flight. "Apes" returns to the episode of the monkeys; Roine's guitar gives melodic, fruity rock freshness, supported by the neo- classical orchestration; the slightly tribal pad leering at our Origin, Roine fiddling with his guitar to get out squeaky notes before the return of the quickly heady chorus reminiscent of those of MILLENIUM. Final tullian violin and divine keyboards smelling of the epic of the great GENESIS. "The Last Legionary" Marc's military horn, martial tone amplified by Maria's cold violin; on the edge of invasive spleen with the dark orchestration for an autobiographical memory; The solemn music is amplified by Balazs' trumpet and the air of the Balkans; the keyboard launches, a cinematic episode bringing praise and grandiloquence; the finale always beautiful but a tad redundant on a soundtrack. "Painting Mona Lisa" medieval flute and typical lyrical air, Italy is not far away, we could even write RPI. Daniel slips into Leonardo moping; Roberto on guitar boosts this melancholic piece with a nervous riff; Giovanni's flute in the footsteps of JETHRO TULL with an inventive fruity keyboard that was missing in Ian's group; on the edge of baroque opera with a Chamallow taste.

"E=MC2" changes tone with the majestic guitar and keyboard, expressive symphonic rock; well Clive gives his voice in a solemn way surrounded by a majestic guitar, it is often the case I agree; from baroque we move to the genesis with the basic keyboard which will swell to bring us on a meditative air, a path of doubt, disturbing staging on this title, ''theatrical''. "Moon" on an instrumental variation and the voice-over intro of NASA, conquering with the lively violin. The central break is soaring with the fat, melodic synth; it starts again on an emphatic tone where the guitar vibrates with a thousand lights seconded again by the violin for the lively and rhythmic finale. "Madiba's Life" as an interlude-intermezzo, Chopin's grand piano speaking of Mandela on a pleasant air; a pause before the "Future" and the delicate voice of Christina of MAGENTA to close this second annual chapter; a mid tempo that becomes energetic, her voice giving hope in a better world. Between modern and baroque, between rhythm and emotion, vibrant music with a synth solo like in the good old days of the 80s; it looks towards neo prog and gives a new freshness in this closed musical world; a last dark piece by the violin, fresh and full of hope by Christina.

THE SAMURAI OF PROG releases its second album this year with a feeling of obligatory repetition; a progressive album that draws on art-rock, rock opera with no less than five different vocals. A darker album than the one from the beginning of the year, contemplative. A good album that brings nothing new to its predecessor. Originally on Profilprog.