BARON CRÂNE

1. Danjouer for the typical sound and the vibrant finale, Gregorian chant without singing that keeps you in suspense, it's clean, fast, nervous rock with a modern sound 2. Larry's Journey for this bass line that makes the musical backbone; it's heavy but not too much, it's jazzy because prog often has tendencies to leer with but not only; it's latent with this intimate break where the instruments seem to be looking for each other; it vibrates, on the edge of saturation with a talking guitar that reverberates on all the speakers, look ZAPPA and PRIMUS in the background; the finale is still dark, windy, the bass that imposes a migratory musical flow and the simple but effective cathartic explosion; there are a lot of buts in this stunning title 3. Quarantine arrives, on a base of old washed stoner rock, unwashed southern rock; nervous, electric with an aggressive and rocky vocal; a title led at a cracking pace that contrasts with the beginning

4. Mercury and its archaic trumpet coming from the depths; a sax from the 80s and the air that seems to come out of a KING CRIMSON album, disconcerting; a zest of festive air, here is another one from the MANFRED MANN EARTH BAND and here I am questioning this piece; the contemplative sax helping to leave for distant lands, here is a note from GENESIS now; the finale can be guessed with a melting pot before the time of borderline discordant, high-pitched, aggressive sounds to continue to keep you in suspense, to keep the perfusion active; the final trumpet integrates ideally to maintain the qui vive

5. Inner Chasm returns or continues, finally this title starts on an energetic air on the edge of the hard of the 70s, of that proto-prog of the 70s, of the struck notes; the keyboards from the ANGLAGARD period of the 90s now, looking at the vintage atmosphere, the one that feels good; a greasy, dirty, distracting sound that seems to never end, with a twirling drum beat 6. Merinos with Robby's flute to rest on a mattress, yes I dared; ZAPPA as a master player, chopped harmonies, the flute comes back to soften the space, the guitar becomes heavy as we like it, just below the hard power, more electric; the finale you will have to make an effort to like it with this redundant, scratched and musically irritating sound, putting the hairs on edge 7. Les Beaux Jours yes sung title, the instrumental could have been enough? but why the rain in fact? The voice reminds of another group and you need the orchestral moments to say ah yes it's them; at the limit dark and heavy post rock, on a KING CRIMSON of 'Thrak'; the variation on a psychedelic hard rock guitar, on MONKEY3, on FULL EARTH; well the finale wants to shock with this endless reverberation which cleans the few cobwebs stuck in the speakers; a title which raises questions by the contained fury developed.(3.5)