REQUIEM FOR A DREAM

'All Around the World' with the soaring, spacey intro and Sertari showing off his sublime voice on a symphonic ballad with a folk feel; the ambient break on captivating choirs, a suave tune before having the marked instrumental; fresh, rhythmic and an inspired Luke on guitar. 'Sacrifice' for the touching piano ballad accompanying Sertari which is indeed the centerpiece, on a grandiloquent tune reminding me of Led Zeppelin. 'Look to the East' oriental intro with cinematic sound effects, prog you're there; the metallic, new-wave mid-tempo that follows for the intoxicating radio-edit; impression that emerges from listening to Sertari taking the center stage leaving only a little guitar solo for Luke, although well done, feeling of repetition for the vocals. 'Forgiven' goes into the heart of the group, vocals and synths twirling symphonics; emotion, a sanctus worthy of Epica; intimate piano break with the arrival of Gregorian choirs before the return of the crescendic liturgical sanctus flame; the solo just a pearl giving into the divine, yes.

'The Night's Dance' starts with a folk-prog intonation, on McKennitt for example, with tempered orchestration, beautiful but consensual, listenable on the radio that is to say, the crystal clear guitar in the background. 'Say Goodbye Tomorrow' follows, even more radio edit for the prog pop ballad with marshmallow-soft keyboards; the intonation is romantic with a very beautiful guitar solo from Luke confirming that it is indeed the second centerpiece of the group. 'Don't Forget My Name' continues on the same slope and falls into nagging repetition, which can be tiring; the divine solo, guitar hero, comes to save from an overly invasive voice. 'Requiem for a Dream' for the eponymous piece and a gradual rise of a Celtic and Arabic universe, from the time when trade was carried out without war; Troy's "Uillean Pipes" catalyzing the atmosphere; the keyboards sound neo navigating between the Genesis 2nd version, IQ, Marillion and? Karnataka in fact; break in the third and angelic flutes, then Luke again who launches you a melting, incisive solo; a pompous, magnificent ode, Sertari turns the melody upside down, the symphonic to its climax; second oriental-Celtic break this time, mystical, 'Are you dreaming' she says in view of this Dantesque flight; the outro returns to the start, prog loop confirmed.

Karnataka shows an astonishing vitality, textures that tangle like hair in the wind, a musical message of hope with a pearl in the person of Sertari, a great guitarist not used enough, a bit of repetition.

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