PHILIPPE LUTTUN

1. Chapter I - A time for happiness ... yes only one title on this EP from 2007, a romantic symphonic prog metal fresco title which leans towards the masters that are DREAM THEATER, with the harpsichord that we find at RHAPSODY OF FIRE, on AYREON and a number of other prog metal bands. The verse starts with a consensual melodic tune, the voice comes across better than on his 3rd album 'Forgotten Paradise' and is quickly erased by a magnificent musical variation where the guitar creates a solo... fresh, airy accompanied by the vintage keyboard of the 80s Placed in context this piece is worth its weight as a musical nugget, today time has done its work of course but the pleasure of searching for reference groups is a good way to exercise your own memory.

First album in 1997 on an 8O sound with an alliance between the piano, his basic training and the guitar, the forbidden toy with which he quickly fell in love. Varied, instrumental pieces that bathe in the ambiance of the great SERRA, with drum programming that sounds a bit repetitive; the guitar is at the center of the album and offers space, dancing universes, without any fuss. It's easy to access and it also shows the path taken by his future productions. The sound goes from rock to heavy rock with melodic and slightly soaring tones, like the work of Patrick RONDAT a few years earlier. Lots of titles that lack a little connection between them. Note the bonus 'Night on heavy metal mountain', an addition from 2002 in electro-symphonic mode, a zest of VANGELIS, he will be happy, a zest of folklore 'they have the round hats' for a whirlwind cover that is worth its weight . Guitar mastery has been refined and is pleasant to listen to with unique personal development.

1. Prelude to a disaster ...its cinematic...ah yes we weren't even talking about it 10 years ago; a sound on a Russian radio, USSR, ah I don't know anymore either we get lost; brief intro full of emotion with this dancer brought back from the bottle of hooch from the time when we could still taste it; ah this passing time, these children who live in a schoolyard, this time! radioactive rain or radiation that emits... sacred intro not too strong otherwise you will exceed the dose 2. The ghosts of Pripyat, yes at first I thought it was a Steve Rothery remix; good, a long ambient title to explain one of the worst global catastrophes, and we still live today how I don't know; guitar arpeggio bringing a solemn grandiloquent air between Olympus and destruction; the heavy metal riff with its layer of keyboards, but how could I have missed this album? there's prog blood swimming in it, it's melodic but nervous; it's airy but vibrant; it's symphonic without falling into repetition, yes you know the prog groups of now who copy their ancestors the Dinos without creation... I'm still going to make enemies writing the truth, in short Pris.K arrives on the -makes and whispers a melody to make you swoon; melodic and symphonic prog metal that I missed, well I'll recite a pater this evening... for the trouble; the guitar solo but this solo is good, I check it's only Philippe on instruments! And yes it is he who orchestrates like a master; 10 minutes and the contemplative break on the catastrophe with a cinematic atmosphere again and the symphonic drift which shows the extent of the damage of the catastrophe in a lyrical way; a slap in the face of this long title 3. Reaktor #4 or how to dive into the heart of the reactor? Muted atmosphere, electro ok for the interlude, nay... a big, greasy riff fills the air suddenly tumbling, bam ALAN PARSONS-style keyboards yes we think of an 'I robot' tune ', but just a line, finally a bolt; in short, a melting pot between electro and heavy to the delight of progressive ears open to change 4. The day after yes we arrive there the day after 2012 with an earthquake and the breakage of the earth's crust, here it is just the folk festival before the great flood; voice-overs, nervous, heady, captivating synths and a hard rock riff to keep you in suspense; vocal duet on this empirical tune with PORCUPINE TREE sounds, but yes; it starts again and the keyboard twirls on a pattern that DREAM THEATER would not deny; final guitar solo which holds up well, Philippe is a gifted genius for releasing such notes; a little electro with the folk of the intro and

5. Red forest arrives on horses; the guy tries to bring out an E5-150 with voice-overs from NASA, in short, superb intro that I immediately like; crystalline piano arpeggio eyeing the Japanese lands, and this unbearable hubbub behind to recall the oppression of radioactivity now in the open sky; a river guitar solo, a Teutonic rhythm à la RAMMSTEIN, ideas in bar - no uranium - on this track; Pris.K launches into an Arabic tirade before being supported by a sax, real or sampled, and an ERA-style piano; bang trumpet before letting sax and guitar fight a duel; symphonic metal prog in a crossover layer very different from what is coming out; much better though, yes how did I miss it? Well the Geiger counter is racing, let's move on to 6. On the roof of hell with a raw acoustic guitar quickly flooded by layers of neo-prog keyboards, and the heavy riff of a SYMPHONY X; electro bass, phrased vocals, it sounds like a very good AYREON. The sequel, a prog metal drift with Olympian choirs, a killer rhythm, a sharing between a latest generation PINK FLOYD, an ELP, DEEP PURPLE for this fusion of riffs; the SUPERTRAMP-style sax too, really enjoyable. Synthetic break halfway through with a cardiac jolt beat, the classical guitar which adds emotion in the bar, again, and the WRIGHT-style keyboard, this musician has potential and good musical readings. A long, intimate tirade on the wandering of our now suffering world; well for once I feel a certain length during this redundant river title at the end 7. The macabre pilgrimage occurs, a macabre minute-long intro with radioactive noise before launching a melancholy melody of great beauty; fairground melody, military anthem, the choice is yours; certainly grandiloquent with these drum rolls on these alkaline piano notes; the meter panics again, the piano too, but gentleness is required; last quarter and we start again with a DREAM THEATER tune composing with the typical Arabic sound of MYRATH; final piano the base of Philippe 8. Heroes ends with the final outro interlude, monolithic piano, Russian voices on the radio and serious, majestic and solemn melancholy.(4.5)