BORN UNDER PUNCHES (THE HEAT GOES ON)

David Byrne with Brian Eno, Adrian Belew, Robert Palmer to already say the range of artists who came to lay this project; the TALKING HEADS or the extraordinary sidereal OMNI for the Ts, more of a comet than anything else, captivating, nervous, shimmering sounds, to get you out of your wheelchair,... Well, here we go!

1 Born Under Punches (The Heat Goes On) extra terrestrial direct attack, avant-garde with this tribal rhythm of a sound 'linked to prog', that I like! A mouth-watering track, between pop and rock, between rock and detuned synth, between burst vocals and catchy hypnotic rhythm, a bit long at the end though 2 Crosseyed And Painless tumbles like part of another piece; it's all there, the perfect rhythm, the sound that seems to come out of a power socket and put a dump, a dump, a dump again; 3 The Great Curve with percussion and the distant air, like James Bond arriving on stage; the air is still connected to the PTO, the legs can't stop stamping, just when I have aches, it's clever; the guitar scratched empty, uh long live finally you understood, we are on a rock mantra; far from new-wave, far from prog dinos; but a bit of both, an early merger? Yes we are here 43 years later; the overly repetitive title is worth its weight with this tortured and torturing second solo; yes you have to get back into the atmosphere. 4 Once In A Lifetime and this sound coming out of nowhere, the bass, the percussion, David's voice, everything is strange, everything is in the progressive imprint; the dancing rhythm that moves your ears a little, the chorus that comes back, comes back to your calves, the verse that seems to go to jungle-like lands, a bit of XTC and their own madness; in short, the vocal break brings the binary progression and prints it on your forehead, don't move anymore, it fits; go remember the space riff from beyond the grave that sweeps the most recalcitrant 5 Houses In Motion hop we take the train before the horn mist; it goes fast you don't have time to ask yourself; always these choirs from here and there, always this catchy sound, always this musical madness; here it makes me think of the tribal titles of DEAD CAN DANCE which bewitched you as you went along; the oriental flute? in any case it twirls, it fills the air with its waves and would make you forget the monolithic rhythm of monolithic; go a little flute to get the snake out of the box. 6 Seen And Not Seen in the same vein, its archaic, binary, metronomic; notes slipped here and there, a clap of hands, space synth... it seems so simple, me who has been starting to see my calves swollen for half an hour from moving... a deaf chorus comes stir up more trouble; but where are we? 7 Listening Wind ..., ...., .... .... Morse code well, the ship has lost its way in space, beep bit; yes BOWIE had also abused these sounds... the intro that makes me the most in the field, wait I'll put it back, yes with a bar in far we can do it too; between space and jungle, between dawn and fog, THE TITLE of the album, hovering, bewitching, hypnotic, mantranic repetitive where the sound stops and remains in suspense. 8 The Overload with finally a worthy intro; abyssal, Birdyenne?? yes I am thinking of Peter GABRIEL's percussions of course; a sinister musical over-over which sets off on an unprecedented space-time curve, a dark OMNI moment before its time; the last of the mohicans resisting the prog label shoots his ax in the foot here, he lost; a sound that I will find on the Terry RILAY, on the LUSTMORD always gloomy and mischievous, always invaded by idyllic lunar beauty. When I leave you...

A hidden chronicle with 5 of course for the album 'Remain'!