SYKOFANT

'Pavement of Color' strange, raw rock from the 70s, groove from the 90s from the time of Alice in Chains, a zest of southern rock, a sound that asks the question, in which direction are they going? in short, confusing, I keep my ears open. 'Between Air and Water' continues with a long orchestral intro, guitar spinning, returning to hit the stirrup; the voice of the 60's, a psychedelic sound, a languorous guitar, a souvenir atmosphere. Slimy, vintage choruses, I'm wary; the psychedelic melody with a hint of Floyd calls out; 4 mins and the sharp guitar break, also latent; this rise gives the energy amplifying the addictive progressive extension; a little voice and the crystalline heavy guitar continues, contemplative, bewitching; the bass on the sound of the first beginnings of Maiden, prog metal before its time. A hint of Rush also stands out. 'Monuments of Old' continues with some voice-overs and the instrumental variation; a look back at the past in terms of sound, progress for the spleen atmosphere of Light Damage for this foil guitar sound; the basic riff accompanied by military drums and the digression on Rush, the hard bands of the 80s, the rock of Pearl Jam. The sound maintains this marked progressive framework by offering a melting pot of sounds ranging from stripped garage rock to dark cinematic ambiances flirting with Marillion.

'Between the Moments' continues, calm voice with a minimalist arpeggio, the tune is fluid, the tone perky. Heavy break riff on the Thin Lizzy for this freshness of the solos; Floyd tangled with a bass dub in the distance, it feels like a music festival. The decline with these incisive, rhythmic guitars, the solos which fill despite the absence of keyboard. 'Strangers' follows stuck to the point that we forget that these 55 minutes are stuck. The melodic then catchy guitar on a highlighted 80s hard rock riff; the fusion of the rocker voice with the rhythm of the amalgamated Floyd. The voice is harsh, the southern western rhythm à la Tarantino, a cinematic soundtrack from a cowboy film, then one from 60s gangsters; 'ouh ah, ouch argh' says Emil who takes us right there to the spaghetti film, hilarious, enjoyable. The finale leaves in the ethereal ambient space, one that makes the hairs stand on end, magnificent. 'Forgotten Paths' like a wave crashing, an acoustic guitar for the voice and 3 minutes at the end; no, the riff behind you on the left, the bass coming out in front, not bad orchestration; 5 mins and the other guitar on the right. The monolithic riff that takes us to cinematics, westerns and Floyd's 'Meddle'. A break on Rush again and Iron Maiden to regress before taking off for one of the most beautiful progressive tracks. Who said you need keyboards everywhere in prog? In short, this crescendant rise is enjoyable, addictive, highlighting Melvin's chopsticks.(4.5) Originally on Progcensor.

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