HOPIUM

'Kintsugi' electric, rhythmic entry, on Muse, a pop-like Leprous, Diego infusing energy; jerky, hypnotic, fresh, haunting electro rock, paradoxical with the notion that what is broken can be better. 'Glitch' accentuates synthetic rock with the air leering at Depeche Mode, a good decade in fact; light verse, leprousian, explosive chorus. The symphonic break, neo-classical with the drums as a metronome. 'Parallel Lines' pushes the resemblance with leprous for this hopping synth; the rhythm is melancholic and syncopated with a soft pop rock verse. Story of an inaccessible breaking point. The ambient psychedelic synth, acoustic, keep Anathema far away. Tambourine, electronic music à la Jarre then the enjoyable, progressive djent riff. A captivating melancholy, medieval in the end. 'New Moon Harvest' monolithic keyboard opening on a capella; the sad air always in the background, the guitar solo colors the synthetic final crescendo a little. 'Losing Game' shear and acoustic sounds, Diego modulates his voice, soft, syrupy then catchy. The rhythm starts, the keyboard fills the air before the juicy explosion. Acoustic return and electro pop-rock finale of an overboosted Daft Punk, excellent.

'White Rabbit's Hole' redundant melancholy with the fat synth; the explosive chorus, we are used to it; jerky, there is soft Dream Theater; there is Porcupine Tree, Pineapple Thief, an Abba tune, hilarious like the vibrant vintage keyboard. Diego gives it his all, Village People choirs, it's fury with an electro pad and the grandiose finale. 'Night Drive' western intro, quickly cut by the monotonous, tearful air; the dub electro pad looks at Pure Reason Revolution. The insatiable futuristic rise to the sound filling the speakers, the melancholic dark wave air then the choirs, again Leprous. The finale with a Banksian keyboard from the 80s and the guitar solo that spurts everywhere, enjoyable, this album is a bomb. 'Vicious Circle' with guitar, stroboscopic synth; pulsating, compulsive air, synth that drags, floods the atmosphere. The bass on 'Relax', a classic orchestration, the synth comes back invasive, between energy and lamentation of Killing Joke. 'Hopium' futuristic keyboard of an unacknowledged world, like 'Blade Runner'. The distressing pad, Midge Ure's voice, the solemn, syncopated djent riff, you headbang. The haunting, dramatic tune, a dancing, compulsive mantra that brings frenzy. The sound bewitches with grandiloquence, between melody and explosive, torment and hope and an incredible piano solo by Vibram as a posthumous symphony of this world. 'Come Through (Bonus Track)' on a conventional acoustic piece, a ballad about perseverance, personally I didn't need it in view of this surprising and perfect album.

Kingcrow did well, a 5 for singularity. Originally on Progcensor.