PAIN'T BOX

'Wake Up the Child' haunting intro, latency of the start, tonic bass cut by an explosive acoustic guitar; solemn air with a hint of flamenco in the distance, syrupy, melancholic atmosphere, a little pompous for the dreamlike crescendo before the return of the organ and the Floydian acoustic. 'Us' continues on a cardiac scope, acoustic and electric guitars, basic progressive moment with the more than Gilmourian solo, stoner side of Monkey3, a delightful piece with the final scope and the progressive instrumental that kills. 'Breaking Wings' return of the voice on the atmosphere of 'Division Bell'; a screamed title, a cry of despair with a little of 'The Wall', the violin coming to put us to sleep but the vocal cries out loud. 'Poland' follows, sweetness of notes sprinkled on a velvety organ; Simon's guitar does more than enough to bring the listener to the progressive tracks already mentioned; a piece that rises and rewards us with a Caronian guitar solo; four short tracks that follow one another allow us to show the extent of the talent of this still young prodigy.

'Tie' in 2 parts with the cinematic, reassuring intro, croaking, barking; Michel sings, the soft and raw, tormented and soothed voice of Pink. A medley more than a track with admitted reminiscences. A gig, a musical space of progressive research; the sounds of Albion are frank, the sound of Floyd and Marillion is well-typed even starting on a riff of the IQ in the first third. It turns in all directions; halfway through the break is cut with a catchy western tune, we find there some Electric Light Orchestra from the great era; an umpteenth break highlights Michel, reminiscent of their first album. A military drum kit, Wallian vocals, the dino turns around and in Simon's head; hop guitar solo, Mellotron solo making us regress further, on genesis. Jazzy hi-hat now before the crystalline guitar slide; the finale refers to the works of Pendragon as much for the wild rhythm as the voice; the real finale with choirs is meant to be Dantesque.

Red Sand returns to its musical roots by offering an album smelling good of Floyd; a substitute with admitted reminiscences and others suggested for classic prog rock with breathtaking guitar solos, ambient breaks, an album that will please fans of Pink Floyd and Marillion above all. Originally on progcensor (3.5).