BROKEN DOOR

1. Discovery perfect space intro, the one that makes every proguous person dream; 1'45 and Laurie places her melodic voice, borderline phrasing on a big heavy and latent riff; a dark neo-metal that reminds me of the grandiloquent air of the French Arrakeen; melancholy finale, Arabic choirs, spleen Rothery-style guitar and layers of marshmallow keyboards 2. Hands of Fire follows and amplifies the soaring, folk-Arabic atmosphere with distinctive choirs; the dark side is there just for the riff, otherwise it's much more dark folk like with Iona; in short, good dark trippy atmosphere 3. A Blanket of Darkness as a cinematic interlude, at a time when this name had not yet been found; S-F atmosphere, NASA, bringing 4. Fall Betrays the Earth... with Laurie on a piano arpeggio and a romantic-spleen ballad that will make you cry 5. ... Winter has no Mercy ... that's it, we get into the typical sound; heavy riff, imposing bass, a My Dying Bride, an Anathema from the start, an Eternity X; bold then crystalline airy synth solo, what do I know about a John Lord; it's vintage and edgy, grandiloquent and symphonic; like an Andalusian break which denotes and which brings a neo guitar solo, it doesn't stop; riff suddenly for the finale in a dreamlike crescendo with a latent, haunting, dark and heavy atmosphere 6. Broken Door for the eponymous title and a cinematographic search, a few drums, we are in the cosmos, waiting, ready to go beyond the door, and it continues again with 7. Walking with Frightened Angels to the sounds of sirens; a psychedelic-dark gim, a bewitching sound full of choirs, vintage keyboards throwing flasks of notes here and there; a brutal progressive decline on the riff and melting keyboards; an atypical instrumental universe that leans towards complex rock

8. The Dance ... a riff, a heavy, hard, heavy sound, here it's hard rock like a good Black Sabbath, then new-age aerial choirs come to discredit, Laurie arrives with her suave, hilarious voice even more or when the operetta invites itself into the hardcore space; the alternation of varying sounds and climates brings us to the end quickly, remember the breaks like those of the Believer 9. Solemn piano interlude over a choir in the distance to relax, it also feels good 10. Rats and the heavy rhythm again, a vocoder flirting with the experiences of King Crimson, strange yes; electronics also in the notes before a spatial variation and yet another melodic marshmallow solo, the kind you don't expect... and which makes you melt; the finale with Gremlins who come to cause discord 11. Approaching Acheron for ambient instrumental, understand relaxing Apsaras style music atmosphere, soaring, relaxing air for a space of freedom; we arrive at the end and break instead for a second part which separates itself with riff and strong bass, it's heavy, bordering on disorganized; a military horn comes to sweep all this away for the real finale 12. A Song for Twilight ... great melodic piece, calm, on a cutesy, surprising pop rock; 4'30 and the deliverance with an energetic, swirling synth solo; it engages the 3rd with the guitar and keyboard association which raises the musical sound; break with Laurie now then another... this title is more of a tangle of subgroups brought to an end; another on 'Wish' with an acoustic for the end... and there are 6 minutes left; 1 minute of white and an arctic wind arrives in the headphones, thought noise, disparate sounds like those made on the international foundation for musical research, my tender years or on the Residents with a sound of their own; short aside, disconcerting and circumspect I am. A very great album!