GENERATION 13

1Chances Are #1 syrupy, bluesy, jazzy salty, spleen marshmallowy intro; It's accelerating, space shuttle station! 2Generation 13 which sets fire, a waiting riff, the prog blood which leaves its mark and... this drumming with the guitar, the symphonic violins, we would say we are in an opera with the grandiloquence which goes with it, Ian abuses of his guitar to amplify the snarling sound 3All Will Change with Michael who finally gives voice, piano arpeggio and dry guitar, for the moment not yet recovered from the start of the album 3aThe Cross that's it, he launches with this title, the hit, the excess voice-over, the latent spleen guitar, the cheerful rhythm and Michael who harangues us; the riff gives off a vitaminized prog metal like an endless wave; voice-overs and a deluge make this finale the first evolving track of the album, perfect and incredible 4Danger Whistle continues, yes for the moment everything is linked, the concept is there; a whispered female voice and 4aLeave Her Alone arrives seemingly nothing, veiled musical saw, vocal phrasing, all expectant; middle of the song, thunderous bass from Jim to set off on a Wallian, supertrampian and futuristic break; it's different, but it's sublime 5I'll Never Be Like You arrives, organ suddenly, voice-over again to disturb, hypnotize and 5a "My Name Is Sam" follows on a double bass tempo and a witch's voice, no but really unique and enjoyable bringing 6The 13th Generation for the eponymous title; we almost start to imagine hearing a consensual title to reassure ourselves, that no, it's still a taste madness with choruses and riff on a false mid tempo; ah confusing this vocoder; ah the solo finally comes out as we hoped and reassures about the SAGA sound, yes it's them... a nod to a dear friend, my friend to whom I gave the CD without showing the cover , yes for the pleasure of seeing him search and search, of doubting my referrals; in short, the blood friend we only have one and I dedicate this column to you (only read the end, it's the summary!) 7The Cross with Michael who comes to wander vocally in an ambient serenade tone, a title to take as an interface to refocus on the unique concept of the album 8The Learning Tree follows, the first truly sagaian title since the beginning, which ultimately disrupts, I had already gotten used to the notion concept; norma title with a nervous guitar solo, jerk, in short it's moving but it's still unrelatable 9I'll Never Be Like You (Once Again) as an encore with the symphony orchestra behind to close this musical fresco where the word grandiloquence takes on its full meaning; the violin and the drum taking a large place and accompanying Michael in this surely pompous text; a moment to say that whoever listens to this album for the first time has happiness.

10Snake Oil and we leave with the fairground organ, disheartening to be fooled by so few notes. .in short still filled with admiration 10aWe Hope You're Feeling Better follows, finally the 3rd title of SAGA but no it continues with the festive madness, voice-over, divine keyboards and Olympian choirs, it's still swirling; the voice comes down to the choruses which give emphasis and grandeur; the solo is highlighted alone then accompanied by this organ which is exploited admirably; in short, the perfect sound and air 11 "My Name Is Sam" (Your Time Is Up) follows, disconcerting dub before disconcerted screaming vocals; voice play and playful rhythm on a baroque opera that would deviate; trumpets to finish off the arrogant who understands nothing; And 12Generation 13 (Theme #2) with this vibration, ah this vibration much better than on Careful... voice to warn of a possible takeoff, we see the smoke from the turbines spewing and this sound and this sound, Steve goes there his chopsticks, still looking latent, between I leave or I wait for the gas tank; the nervous riff gives an idea, nay 13Where Are You Now? comes on an acoustic arpeggio and Michael's melancholy voice, we are made with this devilish nursery rhyme to a tune from the Motors, yes 13a "Screw Em" arrives, the second real standardized title, finally one of those that we are used to hearing, from the Saga; on a festive, striking rap rock; Suicidal tendencies-style groove; the break with the solo but where does it come from? The well-blasted prog metal track which shows an iceberg of their sound without these magnificent progressive tinkerings, and it works 14No Strings Attached continues with an intoxicating soft bluesy tune, sensual and melting marshmallow; the Saga sound from before came back in this concept; the paradoxical side is that it is almost too conventional, paradoxical; keep your voice on the Gentle Giant, yes today we would talk about Haken or Caligula Horse; the solo clarinet accompanies the voice for the languorous finale 15All Will Change for regression, yes we're diving back into the concept, it's not over; the interlude between these two worlds 16The Victim and the church organ which releases an angelic jet and poses the question of what happens next; bam Ian's riff and Michael's distinctive voice to indicate that we are going to navigate between... these two worlds; dazzling solo, the notes jerky even in the midst of turmoil, the milestones are set, the album finally starts, is it so sure? 17One Small Step brings us back to the grandiloquent title with the orchestration that goes with it, it comes from everywhere, between majestic and intimate overtones, the voice, the wind, always expectant; dark, melancholy fluid break, astonishingly masterful break resembling more of a sonata, an unfinished symphony than an agreed title; Ian throws his notes to make his guitar cry which releases a plaintive solo; the cinematic aspect before the time is marked 17aSam's New Friend follows, that writing is the continuation, on a fairground tune, on a bucolic ballad at dusk, to try to find the rabbit always late, yes I placed this sentence and it is not Joël who stopped me... in short the hit pad starts up, yes wink to my friend Sam uh Michel who tries to get his texts out faster than this famous rabbit... In short where we ourselves Saga here, well further, even further 17bWe Hope You're Feeling Better comes to explode in our faces with dripping samples and orchestration from the Panorama City Philharmonic orchestra yes they didn't do things by halves 18Chances Are ... we talk, we talk and the final, the real arrives, finally, already; a piano arpeggio with a saturated sound, the notes which get carried away, which get tangled, we are caught in this conceptual game until the end.