DISSOCIATIVE IDENTITY DISORDER

1. Hello (Dawn) piano intro and airy vocals, which goes into limbo 2. I'm not in it intro honeyed, therefore soft, pleasant before the symphonic trigger; Marco stands out on this punchy prog rock tune, with an Anglican sound, it really makes this start multi-national; languorous break, still airy with melting choirs, 3. A strange morning arrives suddenly, an evasive post-rock extension, yes a bit of SYLVAN'S in the background but it's easy; 4. Run in continuation with Michael like on 'Generation13', wonderful voice; the break with whirring pad and the invasive bass and the choruses which get carried away, excellent 5. Dead town follows... without the titles you are on the plot of a big title there Marco comes back to the charge; an insistent piano for a rise with symphonic orchestration, grandiose 6. Kindergarten remember with Maggy singing and a children's schoolyard rhyme with a swelling sound, the choirs amplifying the air with a heady piano at the end 7. Pills in a cinematic interlude, on an enchanting AYREON, its arpeggio sweet as honey, this album is indeed to be enjoyed 8. Beyond the stars (White pill) follows, taking us to an oriental tune, Oliver's voice soft, skimmed; classical piano variation on a syrupy keyboard, it's good, it's hot and gripping

9. (Black pill) for the beginning of the 2nd song, yes the concept is there; progressive, latent, lascivious, evolving, still neo-oriental atmosphere, nice interlude 10. Now I know very pop rock at TFF, interesting to have this diversity; violin break and Michael who returns with his expressive voice; grandiloquent orchestral moment with phrasing voice 11. Alone which with the synth can recall AUREON, SAGA well yes when we have the singer we think of Jim, of PENDRAGON for Clive; a little SERRA and the big blue, it's beautiful if I write it to you 12. The sun for the operetta slap, a bit of the BEATLES, a bit of the great SHELLER yes the piano, a bit of voice from the right, from the left, the classical orchestration which is colorful, rustic, which fits into the Charisma universe with the black cat with its big head; a barrel organ, a rise, a lyrical musical explosion, it's pompous but well done really a full crescendo until the end 13. Whisperings in the dark piano de temps, on an aborted 'Amicalement votre', it's crystalline, dark with the vibrating synth and we move on to the 2nd large piece 14. Locked up with Alan on vocals? , a symphonic ballad track, a little tinkering, it goes up but how good is it with this heavy riff of an overboosted 'Kashmir'; the climb is also grandiose with panache, no boredom, no consensual beach, a must 15. The quiet before the storm linked to a soaring frame, coming from the sidereal limbo 16. The storm brings this basic fairground organ before the storm rises; sighing, dark voice, yes SYLVAN'S must have often been listened to, ah this organ; second battle with the Olympian 'Kashmir'; the voice to? amplifies the grandiloquent festive side with a riot of shimmering sounds, a great art 17. Wake me up now with the surge that arises and gives in the consensual title, well I would say, a title goes everywhere after a non-stop hour of pieces each more beautiful than the other; end counted Ok we understand 18. Awakening and now ... for the beginning of the 3rd title and an aquatic interlude space, yes I hear the whales; a sidereal space yes I hear the palpitations of the nascent stars chirping 19. Now! and the return of the organ, church this time; duet voices that chuckle, the riff that decides, on AYREON yes, on FROST* but on an epic symphonic piece; there it's finished 20. Hello (Twilight) ah Ok hello you too; solemn piano to perfect and conclude this immense album, ah how I say already.. OMNI that's good I had gone into space.