IT LEADS TO THIS

1. Put It Right begins very simply, bass, soft, catchy drums, timpani that keeps the rhythm, and bam a bit of piano with Bruce's voice eyeing the work of Steve WILSON; marshmallowy sweetness, ah this piano not heard enough in concert, well in the 1st row it's also obvious; latency during this time with a vibrato effect, the guitar which snatches a few notes from the ambient air; just sublime, this time seems suspended, and Bruce following the air; everything mixes admirably, a slap in the face for a melancholic radio edit track of great beauty; this ending which reminds me of a DIRE STRAITS title, memory 2. Rubicon sounds like the XTC, I can't help it, it smells hard; syncopated rhythm, progressive, already gripping; the chorus comes on, pop rock song in fluff, it imprints itself in your head; the air advances like a wave against the bank, Gavin breathes in a villain; impeccable, captivating 3. It Leads to This wow, yes you too? A bit of the JAPAN of the time, the metronomic rhythm, another tune that grabs you in the gut, how do they do it? Ah aha ah aaah; this riff, this synth which potentiates, latent, ambient, dancing, moving with this endless atmospheric riff which hypnotizes! Bar simplicity, gold, diamond 4. The Frost I listen to, I don't know what to write; it's just perfect, with the voice, the choirs, the drums, the riff which drives the rhythm even further into your cerebellum, this spleen guitar which melts suddenly; the break with the riff which launches a very fast layer of dripping synths but which makes the mouth water; this rhythm that returns, military air and it suddenly feels like The Edge

5. All That's Left spleen, progressive drift with a Japanese air; metronome pads, softness again, everything is calibrated to leave nothing to chance; a little acoustic guitar before the PORCUPINE TREE explosion, it vibrates, enjoyable; it looks like a theremin getting carried away, not possible but true, the hard, heavy syncopated sound before returning to the percussion 6. Now It's Yours less than 6 minutes for the longest title; dark, mysterious intro; well now it's up to you to tell me about your joy, your emotion: latency yes, mid-tempo yes, melting air yes, sexual softness yes, rare that I see so many things... yes; the piano and the guitar's lament become one; paf a heavy riff yes the prog can also draw from it, the guitar is ripped helped by the aggressive drums, the explosion like PINK FLOYD yes prog right inside we are; languorous tune which leaves and returns easily, hold the slide guitar which plays the interlude, what beauty this album makes 7. Every Trace of Us with still an XTC sound for me; it's catchy, rich, fruity, complex, full of ideas; I sit down for a drum solo which suddenly brings out everything precise but intense, the guitar vibrates, cuts, my legs don't stop moving; do they have something? In short, less good but crazier, I get lost 8. To Forget strumming guitar arpeggio; Bruce hoots or almost, it starts slowly, a little bass, a little pad, the guitar crying yes I mentioned U2 not by chance, the spleen is there; the rhythm sets up, that's it, Gavin's syncopated rap wreaks havoc again and Bruce's plaintive solo blows away the last reserve; concentrated modern prog that gets better with each listen, the magic is there. THE PINEAPPLE THIEF has released a perfect album with titles that swell, which reveal their charms like burning lava; from meh not bad they go to damn well done then magnificent, all in 5 minutes max, a slap in the face, an OMNI in 10 years. (4.5)