FINALLY GEORGE

The second album of this German composer uses prog recipes to create his own instrumental universe; syrupy voices, tested and recognized orchestration with Floydian influences, others from Alan Parsons for the voices; the guitar solos are on the other hand more haunting and bring a very pleasant specific touch, like the regretted Anathema. The plus the integration of a female voice in choir which gives more musical relief The minus the predictable side of the slightly redundant melodies which follow one another and resemble each other; a different moment for the rather solemn intro, quickly a simple copy / paste of the various tunes of FLOYD with the languorous voice which smells of Gilmour. The current danger of releasing a progressive album that beats around the bush, as good as elevator music, that doesn't make too many waves, which is a shame considering the guitar solos that take the albums out of a certain torpor. We are more on a Teutonic neo prog pop that smells good of RPWL and their masters PINK FLOYD with the framework of classical instruments that bring this difference.