CROSSOVER PROG

"Objects Outlive Us: No Monkey's Paw" with a cappella falsetto vocals addressing the extraterrestrial, coming from limbo, captivating latency worthy of POPOL VUH, a cosmic air to put us in the space mood, with ENO and REICH in the background. "The Buddha of the Modern Age" with lyrics by Andy of XTC, a pop gem about the problem of screens. "Objects: Meanwhile" central theme: life and its deceptions, imploding black holes. A romantic-dramatic mid-tempo ballad with a strong bass variation, a feel of "The Sky Moves Sideways" and the psychedelic-prog-post-rock madness that rises like an endless wave with keyboards favoring memories on ELECTRIC LIGHT ORCHESTRA. A nervous, invasive finale reminiscent of "The Harmony Codex". "The Cicerones/Ark" acoustic arpeggio with its organ jelly, musical time seeming to stop on this metronomic vocal mantra that swells, swells like in the good old days of HAWKWIND. The heavy prog sound of the future with hints of his previous works. "Cosmic Sons of Toil" introduces a synth from TANGERINE DREAM, an energetic, tormented guitar taking the place of the keyboard. Unstructured, hypnagogic sound, modern notes and the outline of the heavy metal finale. "No Ghost on the Moor/Heat Death of the Universe" has the soaring atmosphere of the 95s, "The Sky" again features Craig's signature drums on the phrasing vocals, Randy's guitar connecting with the previous track. A surprising guitar solo with a final sound reminiscent of a ship's noise.

"The Overview: Perspective" builds on the foundations of the last track, "The Harmony Codex," with Rotem's voice rattling off sequences of numbers, like the TALKING HEADS, with a rudimentary TANGERINE DREAM-esque soaring synth, an amplified atmospheric ambiance. A metronomic, repetitive, tinkering space lacking soul. "A Beautiful Infinity/Borrowed Atoms" has the slow melody of PINK FLOYD, like "Wish You Were Here," a languid, reverberating air reminiscent of disco in the distance, and closer "Stupid Dream," even "The Future Bites." Randy brings his touch with a tortured solo that restores order; Beatlesian overtones, piano arpeggios and distant beats, helicopter blades. The chorus's languid ending is predictable, lacking spark. "A Beautiful Infinity II/Infinity Measured in Moments" returns to the stratosphere with robotic female phrasing and BOWIE-esque funky rock keyboard drops. The atmospheric choir fills the ears, flooding with its fluid melody of OLFIELD, electro, and then another tortured guitar solo flirting with the keyboard. Crystalline arpeggios, musical water drops, and the muffled sound launch "Permanence" into a codice-like harmonic finale, sax in the distance, as in "Le grand Bleu." Adam's languid jazzy air invites us to float in space and see from above, a clear nod to the melodies of VANGELIS. Steve Wilson has projected his album with Miles Skarin-esque views, for an immersive audio on the phenomenon of the visual sensation of space. It is a return to progressive and expansive music, an opus for traveling in endless prog space. An excellent album for those who do not know his work, very good for those who like prog and good for those who know the work well, delivering here a tactical best of his discography. (3.5). (4.5 in atmospherics for musical pleasure, WILSON is avant-garde anyway.) Originally on Progcensor.

Opener 'Future Perfect World' is a gorgeous piece with its bombastic ten minutes of playtime, a more straightforward song exhibiting a strong retro symphonic rock sound. This is followed-up by 'Another Holy Grail', a longer compositions that aims to be more epic and quirkier, while the third track 'Down the Darkest Road' is somber and suspenseful and together with the next song 'In My Dying Days' offers variations in the minor keys as the album exhibits a somewhat uneventful songwriting so far, especially for what concerns the SB universe. At the same time, the interplay between the electric guitars and the violins provides for a moody and eclectic feel. Then comes 'The Seventh Sleeper', and as dramatic as this one is, it ultimately becomes a laborious listen given its extended length. On the other hand, 'Days We'll Remember' is more celebratory and upbeat as well as a re-recording of a Spock's Beard song from 2018's 'Noise Floor'. The closing track here, the band's closing statement, is perhaps the strongest composition off of this album, a synthesis of all preceding moods and quirks. The entire LP is very similar to all other P-SA albums and is perhaps too mellow and too moody for a flamboyant piece of contemporary prog, which does not mean it is lacking certain qualities, like being intricate or melodic.

9-minute opener 'Synaesthesia' is a charming, intricate and emotional piece that sets a dramatic and beautiful tone to the entire album as the listener encounters the brilliant and gradual build-up of tension, as opposed to the jarring culminations coming later on. 'Do Angels Sing Like Rain?' is another suspenseful and invigorating track, one of the most memorable on this album, followed by 'Untouchable Part 3', a beautiful addition to the previous entries appearing on 'Weather Systems' from 2012. 'Ghost in the Machine' is quite captivating, while 'Are You There' is a really atmospheric, with an almost post-rock-like development. The following two tracks are quite intricate art rock numbers with lots of electronic instruments, culminating in the title track, which is mysterious and unexpected, followed only by 'The Space Between Us', another fine entry on the album. The entire work flows naturally between post-rock build-ups and art rock soundscapes as the magnificent vocals of Daniel Cavanagh guide the listener through the realm of Weather Systems, a worthy successor to Anathema, with their near-perfect debut album.

This is a work of a four-piece band whose creativity delivered a 10-track album that lasts almost an hour, 55 minutes of a refreshing sound that I am sure will make you have a good time. It opens with 'Taste the Day', a short two-minute introductory track that might sound like a ballad, but since these first seconds we can appreciate their mixture of acoustic and electric / electronic elements, as well as the great vocal game. It leads to 'Showtime' and oh yeah, the title speaks for itself. There is an evident 80's feeling as well as a neo-prog essence, however, as I mentioned above, the sound is quite refreshing, it is not old-fashioned at all, so despite the obvious influences I believe the label of "modern prog" really fits in. Their great musicianship is shown here, in a vertiginous ride where keyboards and drums take over at first, but then guitar and its solos as well as those great bass lines have their say. An extraordinary instrumental song, the perfect hook to make us stay and wait for the next surprise.

'Illusions Inside' changes the rhythm, it slows down a bit, however, its charm will maintain the interest. Episcopo's amazing bass lines blew up my mind, it was the first that caught my attention here, so kudos to that. Anyway, it is evident that the four members are quite talented musicians, and also that Kyros worries about the quality of the production, which sounds really neat. 'Esoterica' will make you dance, and yeah, prog is danceable of course, you can't deny it. I am sure the band has a vast names of influences which is why their music is so dynamic, so contagious and so good. From Steven Wilson to Metric, from Saga to Pure Reason Revolution, From Yes to IAMX. A guest saxophone is also heard here, adding new colors to an already colorful song. A killer track!

Honestly, while listening to the album I picture myself seeing them in concert and really having fun, it happened in almost every track, just like in 'The End in Mind' which once again has bass lines that left me mesmerized, also their keyboards with a kind of 90125 feeling is really attractive, and I love that balance of modern prog with an 80s essence that sounds like prog rock but also alt pop. There are several changes in rhythm, mood and tempo in this 8-minute track, delivering great moments with and without vocals, but always sharing top-notch quality. They are amazing composers and amazing performers.

'Digital Fear' is a shorter track with a synth-pop / electronic essence that could be used as a movie soundtrack or even as the music for a videogame. It is instrumental, and here they let us know once again that they can create music with no boundaries, reaching a vast amount of genres. 'Ghosts of You' might be the catchiest and poppiest of the tracks here, reminding me of Wham!, Michael Jackson or even New Kids On The Block, however, I am not saying this in a peyorative way, because though this might be far from prog rock, it is full of quality, so please open your mind, stand up, dance and enjoy the show. Kyros are fearless, they are not looking to please anybody before themselves, and I love that freedom.

With 'Liminal Space' the blend of pop, prog and rock solidifies, here the journey is a bit slower and calmer, however it is impossible not to move at the song's rhythm. Yeah, fans of all these genres, unite! There is a slice in this music for every one of us, so don't be afraid to bite Kyros' charm. 'Technology Killed the Kids IV' might be the best example or a neo-prog track in this album, catchy sound yeah, great use of keyboards yeah, emotional vocals and lyrics yeah, rock and spacey atmospheres yeah, constant changes yeah. Another example of how good this band is, hell yeah.

This extraordinary album finishes just as we can expect: with an extraordinary song. 'Have Hope' and its 8 minutes are the cherry on the cake, though its the ending track, Kyros let us know that they could go on and go on for ages because their creativity is endless, limitless. Not a single track sounds like other, not even the passages of a single song, they are constantly changing, reinventing themselves and offering new figures, chords, notes, emotions, challenges, and this is to me complete freedom, and though I am not a musician, if you are free to create whatever you want to, you are already a winner and you understood art.

Kyros has delivered here a gem, and I am really happy to have discovered it, so please, if you are still here reading the end of this review, I wholeheartedly invite you to join the club and listen to them.

Enjoy it!

The first part of 'The Overview' album is the 23-minute piece titled 'Objects Outlive Us', a cathartic, complex and incredibly diverse movement that is made up of eight different bits, although the entire piece (and the whole album, in fact) works as a cohesive whole and should be seen as such. Starting off with a choral, enchanting intro, the song gradually moves to a more traditional Wilson-esque progression, with loads of atmospheric keys, haunting acoustic guitars and refined melodies, topped by the picturesque lyrics of Andy Partridge. A more avant-garde instrumental sections awaits the listener later on, similar to some of the material on 'The Harmony Codex', then drifting away into space on the wings of a spacious guitar solo, one of the best on a Steven Wilson recording, authored by McStine. The title track comes second here and is an 18-minute-long movement structured in six parts - this is a much wider, more atmospheric and fluid piece of music, with some spoken word from Wilson's wife and a prevalent use of various effects, synths, and keyboards. An interesting counterbalance to the first part of the album, together with which it forms a very endearing, calming and fascinatingly enticing musical experience, elevated perhaps by the fact that this album is much more pertinent to the progressive roots of the artist yet intelligently claiming enough of his more recent experiments with electronica.

[Interviewer] It's billed as two pieces, but the album really feels like a singular experience.

[Wilson] It's two different sides of the same coin. The first side of the album is really about the human side of it, and the second side is more about the science. And even then, it's not as simple as that, because there's little bit of each in both. I think that's the way I kind of rationalize these two separate pieces of music to be. The second half is more about the science and the sheer magnitude of space, and the first is about the human race and its relationship to it.

The musician line-up is:

- Steven Wilson / vocals, guitars, keyboards, sampler, bass, percussion, programming

With: - Adam Holzman / keyboards - Randy McStine / guitars - Craig Blundell / drums

So, without further ado, here are my first impressions as I give it a "cold listen."

Track 1 - Objects Outlive Us

The "movements" are as follows:

- No Monkey's Paw - The Buddha of the Modern Age - Objects: Meanwhile - The Cicerones - Ark - Cosmic Sons of Toil - No Ghost on the Moor - Heat Death of the Universe

The piece begins with Wilson singing a high note with minimal synth accompaniment. He sings in harmony starting around the 30 second point. Bass and more keys join in just before the one-minute point. The music is unfolding slowly, with lots of space between phrases. A piano part begins to establish some rhythm before the 2-minute point, and then Blundell taps a ride cymbal on the beat. Over the next minute, the song builds in intensity. I am getting Pink Floyd-" Interstellar Overdrive" vibes between the 3-minute mark and 4:15; very cool. I like the musical textures that follow. We are in 6-8 after 5 minutes. I like the instrumental textures in the section after 6 minutes. I am listening on fairly decent speakers now but betting it would sound spectacular in headphones. At around 7:15 there is a possible David Bowie reference when he sings "While he wondered, 'Is there life on Mars?'" I love the fuzz bass at around the 8-minute mark. Then Blundell joins with an AWESOME drum groove. This becomes a prog- tastic instrumental break! I am really enjoying this track! Another vocal section begins following that at a softer dynamic level. Then at 10:15 the level increases for an ascending melody. Excellent use of dynamic levels, Mr. Wilson (yep, I can't hide my music teacher thought process!). A more mellow section follows this with some odd meter shifts. I am picking up a return of a musical theme from earlier, but with variations from 11:30 or so. Great dynamic changes again at 13:30. The music gets "heavier" around 14 minutes. Excellent piano around 14:25. More prog coolness ensues at around 14:45. Not sure if the following guitar solo is Wilson or McStine, but it's wonderful! The piano motif returns, joined by the entire band. Great bass at 16:20, followed by a cool guitar riff. Great playing leading up to a pause in activity at 17 minutes. After that the music gets a "floating-through-space" vibe. Wilson sings some nice falsetto lines here. By 19 minutes in, a subtle rhythm has returned. A quiet guitar solo joins in following that. I have not been focused on the different sections here, preferring to listen as a whole. Wonderful guitar playing as we approach the 22-minute point. A disturbing tone brings the piece to a resolution. I absolutely LOVED that! So far, I know which side of the "Love it or hate it" debate I fall on!

Track 2- The Overview

A bit of "static" starts the second track. A rhythmic sequenced synth part follows, joined by some electronic percussion sounds. A spoken word part joins in describing the sizes of various identified stars and nebulas. So far this one has more of an "electronic music" vibe. He eventually begins mentioning galaxies as we proceed. The sounds fade out at around 4:15. More peaceful, floaty type sounds follow that. At 4:44 the band kicks in with a moderate tempo 4-4 beat. Wilson begins singing at around 5:15. This has a strummed acoustic with the keys and rhythm section, along with clean electric flourishes. He returns to falsetto at around 6:25 for a couple of lines. A guitar solo follows. This one is kinda mellow so far, but I like it. The rhythm section and guitars drop out around 7:45 and piano and sound effects accompany the vocals. A very short, but impressive a cappella harmony section leads the band back in in a bigger way than they had been previously at around 8:45. If the Beatles had continued into the modern day, it might sound like this. Superb harmony vocals, as we have come to expect from Wilson in Porcupine Tree and other projects hit at around 9:20. At 9:45 Holzman gives us a very Rick Wright (the late-great keyboardist from Pink Floyd) keyboard-tone feature, but only for about 15 seconds. At 10:00 the music drops back out for spacy sounds. By 11 minutes, the band has a cool rhythm going with more stats about the size of objects in space being described. The harmony vocals recapitulate some of the themes from track 1. Fantastic guitar sounds take over at around 12:15. At 13:00, we have handclap sounds with another cool rhythm happening. I like it! The Wright style keyboards get a longer feature after that. Nice sounds at 14 minutes! This is GREAT PROG! I don't know what the ones who didn't like this were listening to, because it couldn't have been this! The music fades and more stats are read. By 15 minutes a mellow keyboard takes over. It is spacy here as well, but the album is ABOUT SPACE! (lol) These sounds seem to be taking us to the close of the track for the last minute and a half. GREAT TRACK!!

OVERALL IMPRESSIONS:

So, first I will start with an admission. I was dreading this one a bit, after seeing so many negative takes on this album, and the disappointment I felt over "The Harmony Codex" in my review in January. However, to quote my earlier self: "Maybe 'The Overview,' will be more what I am looking for. The early info shows that he recorded it with only Randy McStine (Guitars), Adam Holzman (Keys) and Craig Blundell (Drums) along with him, so it seems more like a rock band effort." And indeed, it was! Sure, there were a few segments here and there that were a bit slow moving, but it fits in with the concept of the album. This album belongs alongside Wilson's best solo-efforts as well as the best Porcupine Tree albums. The harmonies in the middle of the title track reminded me of PT classics like "Waiting," "Lips of Ashes," and "Lazarus." While it maybe isn't quite as good as "The Raven That Refused to Sing," (which I gave 5 stars) it's very close. I gave "The Harmony Codex" 3.75 out of 5, as it wasn't horrible, but it wasn't great. This one gets 4.75 out of 5 stars! It's great prog, and Wilson and crew really delivered.

Clicked 5 stars, but really 4.75...4 is too low.

'Live at Tavastia' was released early on 2024, which is why here we cannot find any song from 'In Murmuration', their latest studio album which was released in the final quarter of the same year. What we will find here is a collection of 13 songs the band has release throughout the past 15 years, avoiding their first records from the 00's decade, and focusing more on most recent efforts. The album lenght's around 80 minutes of nice art rock / prog rock with a very modern essence.

It was natural they decided to highlight their most recent album at that time, 'Red Alert in the Blue Forest' released in 2022, so the very first part of the live performance focuses on that album, having as a result a nice combo of three songs, the three first songs of that album in order, no more, no less. I believe my favorite moment from that batch is 'Blue Forest', which sounds great, powerful in moments, subtle in others, but the musicianship is always great.

Then they begin to play some songs from previous albums, like 'Frozen Butterflies' or 'Jerusalem', taken off their 2017 record 'War is Over', I like the introduction of the earlier, which adds a folkish sound to the modern prog one, quite nice. They come and go, I mean, 'Peace Patrol' was a recent track and once they got warmth they included it on the setlist, bringing a lot of energy in the stage, an energy I am sure was caught by the audience because to my ears, this is one of the highlights of this live record; and the journey through the past decade continues with older songs such as 'You Don't Know My Name' or 'Flowers and Rust', the latter being one of the people's favorites.

Something I like about live records is the human sound, I mean, the interactions between artist and crowd, and though I don't understand a word (I assume is Suomi what I listen when they speak), it is nice to see the musicians speaking to the audience and receive the excitement and gratitude in form of applauses, shouts or noises. Also, like in 'New Day Rising', it is great how the crowd gets involved with the music, clapping at the song's rhythm. Those human aspects definitely enrich the experience.

Also, there are some videoclips of this concert available on their Youtube channel, such as the one that closes the show, 'Sunday Child', so it is nice they let us be with them in a figurative way, so when we watch the videos, we can feel a bit closer and be part of the crowd.

A very nice live album,

"Solitaire" is neither an homage to a Bond girl or even a card game precursor of video games to keep the mind occupied but an expressive theatrical insight on the human nature , the desire for autonomy and free will, finding solace in introspective discovery, as opposed to toeing the common line, a current societal sickness. JP expresses his inner spleen with not only lyrics that pound hard on the conscience but also musically, flipping raging rhythmic slashes, interfaced with seismic soloing. The mood is intense and frazzled, as only a wounded soul could possibly be.

On the other perhaps darker side, lurks the discreet stranger within each one of us, "Jekyll" yearns to express the perils of honesty in human interactions, not knowing which hands deserve to be shaken, hypocrisy waiting for its prey like a camouflaged sniper. The quavering electric guitar shudders with echoing reverberations, a merry-go- round carousel that leads to nowhere. Stéphane Vouillot's sombre piano exuding endless angst collides with Elise Bourg's jolting backing vocals to create all the needed background to vengefully retire into the murky shadows of silence.

Speaking of Elise, she joins JP on the lamenting "A L'Évidence Je Me Rends", a resilient groove of flickering guitars and somber pace, illustrating once again the faltering social fabric of a once stable and proud land, unable to cope either individually or collectively, an exhausted rant of utter surrender to the evidence of a fractured world, led by lies, fuelled by opinion and endless negativity. No one knows anymore what people really think, comfortably numb in either ovine submission or worse, forced silence. Want evidence ? It's called the Internet.

« L'Homme est un Animal Sauvage" needs no translation, an angry and forceful commentary on the inherent possibility of cruelty within the dark folds of every human's nature. The musical rollercoaster between good and evil is exhibited by the fractured polyrhythmic syncopation of JP Itier's maniacal technique, the collar and chain discarded, free to express the most primitive desires. A bruising and painful slice of rage.

The enigmatic nature of "Puzzle" offers a variety of dissonant tones that fuse majestically into an eventual picture, engaged by concussive rhythms, interrupted by a conspiratorial bass line that begins forming a pattern of false comfort, a hushed vocal guiding through the vaporous luminosity. A lost soul, a broken body walking heartless through the maze , searching for peaceful resolution. The guitar work is oppressive, I daresay even reckless, slashing at the approaching spectral phantoms with defiance, a solemn outro that glides into symphonic surrender. A tremendous track!

The ghosts do appear after all on "Les Fantomes", a coarse vibe of viper charged electric riffs that spiral like the coils of a ravenous serpent, feeding on our fears and invading our defenses . With lyrics like 'We must let the past pass, and let the future come', the counterattack is on full throttle, chasing the evil eye, cross the finish line with fist pumping in the air. Itier puts on quite the display on his drum kit, pounding mercilessly the charge forward , while JP liberates his guitar from the shackles of despair.

What else can one expect than an epic 11-minute finale, the rusty nails banged into our destiny's coffin on "Post Scriptum" ? With Louveton unleashing his talent on both thrusting bass and rhythm and lead guitars, the pace becomes at first torrid and unapologetic, finality kicks into an extended bluesy instrumental section where the lead axe becomes sulfurous and acerbic, finally veering towards the cataclysmic finale, where all the pain of the universe is expressed, a final word of farewell before the silence takes over, having nothing more to say. Freddie once said: 'Is this the real life? Is this just fantasy? Easy come, easy go. Nothing really matters to me' .

4.5 proclaimed writings

I'll admit it. Sometimes when I come across an artist page like that of Dorian Wilde---hugely prolific, self-released material written and performed by one person, and cover imagery/aesthetics/song titles that all suggest sort of a hyper-fantastical, airy-fairy vibe---I will simply move on and continue looking for something more up my alley, something more gritty. But this time around, I paused and dipped a toe, and I'm quite pleased that I did. Dorian Wilde is the alt-moniker of Italian composer and performer Fabio Borghi, who lives more recently in Columbia apparently. He's been recording and releasing oodles of material for many years now. Progressive Beauty is his latest as of this date, and it is the only thing I've heard from him.

Let me get my criticism out of the way first because I actually enjoyed this very much. The songwriting could use a bit of tightening, a bit of selective editing. There are great ideas here, but there are some parts that could be streamlined a bit while other parts could be fleshed out. There are a few plasticky keyboard sounds I'm not a fan of, although most of them are fine. This biggest issue for me is the drumming on this album. He's a great keyboardist and handles the guitar work well, but I struggle a bit with the drumming. The playing is a bit pedestrian and less-than-challenging in my opinion. Even for mellow symphonic not looking to rock out too much, I just think the drumming could be more inventive and varied. For these reasons, three stars is the best I can do. But perhaps I'm just missing the nuances of his style.

But let's get to what I liked. A whole lot of this album is just gorgeous, keyboard-heavy light rock with plenty of "progressive beauty" indeed, and it was a welcome change-up to much of the heavy/intense bands I've been playing of late. Fabio writes these grand, elegant, and aspirational songs and then fills them up with his wizardry on the keys. He supports his keys with an Ant Phillips-like guitar presence, and he utilizes choir vocals here and there to excellent effect. Love the choir vocals choice rather than using sung lyrics. I would say his strongest attribute was the obvious passion and wonder and emotion that he pours into these compositions. Fabio wears his musical heart on his sleeve, and that excitement he has for the form just completely won me over.

Start with the beautiful opening sequence of the first track, "I am an old man," with the gentle classically flavored guitars and lush backgrounds. The album is a journey. The centerpiece of the album is the four-part, 17-minute suite called "The Distance," an expansive playground for the imagination of the listener. Without lyrical vocals, we really only have the song titles and mood to convey what the composer is intending, but I don't mind that part at all. Lyrics are way overrated. I love allowing my own creative and personal thoughts to mingle with the music, sometimes pushed in a direction by what I hear from the artist. This album almost feels like it could be a reflection on someone's relationships, losing someone special, and perhaps seeing them again somewhere, but that would be just my speculation.

As a whole, the album---and I'd wager other albums in his canon---are filled with lovely, mellow, refined symphonic-influenced soundtracks to his vision of the world, seemingly an affection for fantasy and tropical paradise imagery. Nothing wrong with that. It works and it is relaxing, chill prog listening that lightens the stresses of life. Recommended to those who love mellow symphonic that paints a vivid picture. In any case, thank you, Mr. Borghi, for sharing this bit of beauty with the world.

"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) .