NEW LIFE

"Free As A Bird" begins the album with a tribute to his mother who died of Alzheimer's disease, which reminds us, among other things, that artists are people like us above all; a title based on an orchestration with violins and acoustic guitar for an air of deep meditation and this warm voice of Gabriel, a bit of sound that Bono himself liked to explore to give an intensity of dramatic spleen; a magnificent and dreamlike title. "Karmatic" starts with a sound a little on the border of what ARENA or PENDRAGON can do; Dave KERZNER adds his touch to the keyboards, while Heiner SCOB does the same for a classic passage on the piano; the guitar solo is worth its weight in gold. "Angel's Call" gives pride of place to Fernando for all the orchestration with a sound of some old GENESIS for the guitars at the start, of the latest MYSTERY just with a voice making me think of that of Jean PAGEAU and especially of the great KING CRIMSON just for using the Mellotron; a song with intense convolutions and well-placed breaks, Indian drums concluding the title.

"New Life" for the eponymous title, a voice which draws on that of the angel GABRIEL, a nervous rhythm, a keyboard from Clive NOLAN which goes to the sounds of the first GENESIS for a jazz-prog space, free-jazz also with a lot of violin, then this break halfway through like GENESIS did so well with this enchanting flute, finally the recognizable guitar of Steve ROTHERY, an intense and controlled melting pot at the same time, a ballad that emerges, a digression, a calm, gentle, soaring, spleen and melancholic musical outgrowth but also gentle and providing relaxation until the finale with acoustic guitar; the flagship song of the album to listen to again despite its fairly predictable composition.

"Awakening" arrives here, a little piano interlude from Heiner, the 2nd refined and clear intro just to launch "Shining Spark" and its ballad which draws more on GENESIS from "Burning Rope" than on a PENDRAGON title; the voice is warm, present, highlighted; the breaks with guitar arpeggios reinforce it even more and Christophe's keyboards give a slightly different sound; cascading title, in streaming notes. The album could be finished here but an extended cover "Free As A Bird Extended" of almost 18 minutes with "Frippian" guitar at the very beginning completes an already positive feeling; it is in fact the magic violin of Hélène COLLERETTE which magnifies this title; the introduction seems to come out of genesis, it's dreamlike, it's relaxing and seems to represent a title in its own right; Gabriel's voice is again highlighted in a moving way, with orchestration reminiscent at times of pieces by LEE SAUNDERS for its post-apocalyptic atmosphere; the arrangements are well in place but a little diffuse, much less refined than those of IN CONTINUUM for its long title at the end of the album. Halfway through, the voice is accompanied by Steve's guitar giving more warmth, more sensitivity while Sarah's angelic voice accentuates the musical break; the end starts with a joust, a confrontation, an osmosis between violin and guitar for a progressive moment of great beauty in decrescendo until the more nervous finale, with imposing orchestration. A fairly complex title in the end, intimate, melancholic and also airy, controversial by the use of string and electric instruments at the same time; a title which raises questions due to the vision it provides inside our heads, a stunning title also to give another image of PROG in general because here we have a cross between classical music and progressive rock in fact .