THE UNCERTAINTY PRINCIPLE

"Certainty" begins latently, ambient; a reverberating vocal imprinting an emotion, a lament with its haunting voice to launch this title. The synth rises and explodes in a second verse where the voice becomes expressive. The prog rock of today is there with reinforcements of catchy keyboards on this crescendo; the Marillionian finale with a terrible guitar solo that sends shivers down the spine. "Everything Changed" on a Steve WILSON ersatz with the vocal phrasing and the pregnant bass; the syncopated drums adding to the research on this incisive rock piece. The Hammond brings warmth while the guitar gives the melting fruitiness; bold and captivating with the air that sticks to the skin; everything changes even this dynamic sound. "The Ultraviolet Catastrophe" continues on the alternative rock air and its incisive guitar, on RUSH for a time then the heavy jazzy Latin air with the frenzied piano behind; A punchy instrumental that's a pleasant contrast. "Copenhagen" returns to a mid-tempo track, melancholy with an electro backdrop for the keyboard and deep bass. The synth riff evolves over Malcolm's voice, eyeing Jeff Buckley. The story of Niels's encounter with Werner is set against a backdrop of a deep, imposing riff. "Cause and Effect (But Not Necessarily in That Order)" is a jazzy rock ballad, with a PINEAPPLE THIEF-style pad; a jerky piano feel with the guitar jamming, like in the days when the joy of playing was emphasized. A new sound with the distinctive Hammond organ, forcing a blend of genres. The solemn, jovial, fresh yet brutal break, the crystalline piano solo à la Joe Jackson brings freshness to this innocuous instrumental, persevering in this new musical style.

"The Uncertainty Principle" begins latently metronomic, Philip Glass-esque, thanks to the driving piano and mysterious flute, before launching into a velvety guitar solo: sometimes I associate music with the execution of a dish. The story is about whether or not to kill a man to avoid thousands of deaths; the magnificent guitar solo between Gilmour and Rothery seals this formidable choice, Malcolm setting the scene with his inimitable and recognizable voice. The piece evolves into a frenzied crescendo of uncertainty, the flute emphasizing the futility of the situation; a hesitant outro with a final Gabriele-esque riff.

"Inside the Atom" is another instrumental with haunting piano, a hypnotic-minimalist variation in soporific progression; the enlightened, plaintive, joyful, melancholic-demonstrative guitar arrives, staging the life of the atom, a whole musical debate, for the moment, a captivating melancholy. yes, modern prog that feels good. "The Think Tank" à la 'Everything' brutal, playful, nervous; game theory or how to win a war with the least damage? An exploration with bass and keyboards predominant à la PORCUPINE TREE with a gripping phrasing and the right hellish rhythm. "One Word that Means The World (Arkhipov)" with a dark wave sound, memory of this officer who dared to say no and saved the world; a Marianne FAITHFULL, SIMPLE MINDS air on their first releases. Malcolm's guitar solo is the highlight of this schizoid title on acceptance or refusal. "Between Two Worlds" solemn piano arpeggio for the bloody rhyme on our destiny, let us remember that Malcolm is closely interested in everything that is physical for our destiny; in short, an intimate title that sends shivers down the spine, and not just in the machine. "Living with Uncertainty" is a soft bluesy, danceable groove, perfect for swaying, as the prog-rocker doesn't always have a cane at his fingertips. Ethan helps out with the vocals for this track, quickly launching into a superb Rothery-esque guitar solo, so you'll get the picture; a languid piece that leaves no room for doubt about its quality.

HATS OFF GENTLEMEN IT'S ADEQUATE dares to create a new kind of album with dynamic music and an avant- garde style, modern sounds that are changing the game of prog rock this decade. (4.5) .

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