REJOICE!

1. Step Inside intro intriguing, from the FRIPP period 'Discipline' inside, from the TALKING HEADS for a heady musical mantra; it becomes jazzy, it rises, it gallops and it is finally catchy on an explosive, fruity bossa nova rhythm 2. La Quatrième Mort/La Vie Lumineuse starts on a melancholic nursery rhyme... of all beauty, amplified by the suave voice of Carla from SLEEPYTIME GORILLA MUSEUM. Scattered notes that flow like an endless torrent; the variation both jazzy and on the bucolic territories of the GENESIS of yesteryear with the plaintive voice and the archaic piano, 3. Concretion with this guitar, the sound of inimitable Frédéric, flirting on a frippian riff that sends on warm and dark progressive territories, musical dichotomy of having thus two opposites that associate pleasantly; the sound becomes more fluid on a hackettian arpeggio, yes we are surfing on the reminiscences of the great Dinos there; in short the surprise is big given their heavy prog label not updated! 4. Get Lost is the song that stuck me, word written at random; a fusion between the voice and the instrument, a mantra, a catchy melody that transports you right away. A musical Nirvana, yes I dare; there is a zest of the best BJORK, hints of recent MEER, there is this divine rise that escapes the drawers of comparison; it is beautiful, captivating 5. Fire and Ashes for the cinematic intro, the current fashion; as if we were entering a recording studio at the time of the adjustments; the discordant sound goes on a heavy rock vocal, ah finally there; the hint of MAGMA in the distance; the sound juggles while descending on a minimal tempo, hypnotic before resuming its desperate cry; the final variation on an aggressive sound out of tune again with cello, imaginary or real, which tenses, yes the wink with the mythical piece of KING CRIMSON comes back to me in full face, polyrhythmic string pinches. The dreamlike crescendo soft and violent at the same time, oxymoronic 6. Entanglement not that of GENESIS; the voice in French surprises positively, soft, plaintive, evocative; the handover with the language of Albion did not mark me, I understand English now? The guitar wants to be playful, the tribal, medieval percussions add to the folk climate; strange and admirable. Think about taking a break.

7. Light as a Cloud arrives, softness of syncopated notes accompanied by a crystal guitar arpeggio; an innocuous piece which unrolls and rests the ear 8. Rejoice! and the return of the voice, and the sounds again aggressive, crimsonian in the search for the avant- garde not necessarily taken at its best; jazzy drift, zappaesque, a bit of RIO, everything goes in this strange piece where the raw side of the voice floats near the shadow of frippian guitar 9. Berceuse for the Guilty latent intro, dark, chamber music where the percussions come to the fore; air of wandering on the typical guitar, relaxing 10. Strange Particles ah yes the riff of a simple and effective KING CRIMSON is not far, metronomic. The idea of ​​a journey on jazzy lands, electric gypsy, on redundant notes, moment when the length of the album begins to become clear; do not hesitate to cut the listening in fact; note the effective work of Nico which allows to weld the framework and prevent the sound from going a little too much in all directions. 11. Surrender with a male voice, which one? A RIO track with repetitive frippian guitar with a bit of ART ZOYD in the distance, I'll have to listen to it again 12. We are Heralds bis répétita, 'Discipline' era we agree with the work of David SYLVIAN; the sound becomes heady if not mantranic like at the beginning of the album; come on a bit of South America to make you dream in the final climb 13. The Final Day ah for the end and a long vocal mantra to close, a long orchestral variation rhythmic like potpourri and fireworks; it's soft then aggressive, never metal or heavy, just syncopated with guitar arpeggio beaches to rest the ears. The finale with the Charisma sound and the captivating organ gives a spice that was starting to be missing on the previous tracks; a long track that allows you to come back from this singular musical maze. Originally on Planète Prog.

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