FISH RISING

1. Solar Musick Suite in 4 parts starting with a slightly psychedelic rock pop from the 60s, well that was the period; a variation that is searching for a while, between blues and pop love song before the passage of the second at 3 minutes; heavy riff suddenly, the crimsonian sax raising the sauce even more, the vocals remind me of JUDAS PRIEST at their start, in the same period; marshmallow air love song that maintains itself; the drift to Canterbury is done without a hitch, as CARAVAN knew so well how to do, an extension of the original sound with its progressive framework; the 3rd beat wants to be hard for... the time, the guitar seems to possess, remaining in the rock territory, but a wild rock with an apoplectic rise. The finale with a return to the verse, look at the first BARCLAY JAMES HARVEST, soft, languorous with Dave's keyboards, increasing the new-age side before its time; standard piece made with Steve letting his notes twirl.

2. Fish with the aqueous intro, obvious; flute and rock-jazzy approach with the sax of KING CRIMSON expressive, shrill, avant-garde, used today for the cinematic interlude before its time 3. Meditation of the Snake starts with the reverberant side, psychedelic much more than Canterburyen; the guitar talks and will get lost on a cozy shore.

4. The Salmon Song in 4 parts too, a tenacious rock atmosphere from the start; it calms down quite quickly by starting on a rock drift to LOU REED, stamped with the guitars that talk to each other; Pierre's drums become frenetic, GONG, Mike OLDFIELD will be his future groups. Miquette comes to give voice to the finale which gets carried away, going into possession mode.

5. Aftaglid and the last piece with a soaring atmosphere that goes to HAWKWIND for the air, the rest is done with Steve who bellows, shears, slices with his guitar; the soaring psyche is doubled by a trans air before its time; the drawers do not see themselves passed, except for the one with the acoustic arpeggio hitting our ears for the softness suffered; a psyche-oriental break for the smoking guitar in the distance which like the Pytie comes to preach to the depths of the Heavens. Halfway through and the tone becomes solemn, flirting precisely with the atmospheres of the great PINK FLOYD in their psychedelic period; this is too much for Steve who takes the course again by letting his notes decline along the bass held by Mike while Didier switches to the sax rather than the oriental flute on this mantranic passage. The guitar spurts, a stronger rhythm and we would move on to hard, like what everything is a question of vibration, creation and listening. The finale with the repetitive chorus to continue to dance blissfully on this languorous air; a small finale that amplifies, Steve adds a small solo, one more to bewitch. Minimalist outro reverberating once again, piece that moves away radically from Canterbury to approach space rock.

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