DUKE

1. Behind the Lines for an intro like we expected more; rhythmic, energetic, with a beautiful shrill guitar in the distance, enjoy it will be too much in the background afterwards; symphonic up to 2'30" to be disheveled in front of so much virtuosity in this new decade; so yes it is no longer the GENESIS of before, 2 of the big bones are gone and... the framework is gone found weakened.. but let's be realistic, Phil sings well Tony leads the new boat well, so yes it's prog stamped 80 2. Duchess comes at once with this intoxicating, hypnotic and catchy pad, interesting as the dry and electro sound denotes Hammond and other Mellotron but can still melt; the dry drums merge with the crystalline piano before the arrival of Phil's voice at T+ 2mn, to say that some will say that it's not prog... poor people; a few minutes to realize that the sound is heavier, more direct, more rock and that it sounds pretty good; the electronic sound is felt and then 'trespass' is finished and then we already have it; there it is 'Duke' 3. Vocal Guide hooked up for the interlude, a little piano-vocal rhyme that grabs your guts, damn... Phil doesn't have Peter's voice but what depth and almost 14 minutes together! 4. Man of Our Times tumbles, soulless GENESIS, yes I don't drink everything like milk; apart from the repetitive drums, the tune annoys me, the chorus especially with this voice that is too shrill 5. Misunderstanding follows and fortunately corrects the situation; a tune, a voice but with it vibrates, a little on 'And then', simple to listen to but warm 6. Heathaze for the moonlight nursery rhyme; or how to vibrate right next to a piano with its surrounding keyboards and its little 'wrapping' roast drums... a relaxing moment for a melodic slow 7. Turn It On Again for the B side and the slap: how can a title have made the front page without Peter, without Steve? A little objectivity, this GENESIS version 80 no longer has anything to do with, like the futile fight between the two versions of MARILLION some time later; let's come back to this radio edit which doesn't show the sound of the album, but... it's a hit, that's the goal 8. Alone Tonight for the series of 3 soft tracks that I don't really like, too predictable; here on an acoustic a suave title just saved by Phil's well-tuned voice, the perceived gradient and the velvety keyboards; yes a guitar is missing...or it is not highlighted 9. Cul-De-Sac stands out from the crowd by offering yet another mise en abyme of Tony and his majestic keyboards 10. Please Don't Ask redit from Alone I tell you, I surf quickly and it's not 20 or 30 years later that I'm going to change; guitar where are you? the funky slowy tune, the consensual ballad 11. Duke's Travels or why prog is not dead and the pleasure of knowing that there will be more with Duke's end... Well the synth in waves, 1'30 and the drums which make the second pass; Tony shows his virtuosity on several layers; the sound is ample, dynamic, varied, it juggles everywhere, at one point you settle down... you listen, yes you do it again and you say to yourself but this piece is still enjoyable, from the great GENESIS es 80 ; Phil arrives after more than 6 minutes following the tension of the piece, his voice barely touches us before the new flight of notes; it calms down, roll of cymbals, organ of time, suddenly I always think of 'In the court' by who you know and 12. Duke's End spans the parapet and adds another layer, majestic this finale and a return to Behind just to complete... the album in a colorful melting pot.

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