FOXTROT

It's nearly two relative years (and counting, beyond any hint of doubt) since I listen and admire Foxtrot (implicitly Genesis too, with the particularity of what they have best); an allure of old experience; with an unchanged opinion since that first hearing, an opinion telling me I hear something excellent, that I like it terribly, that the grandeur of such musical ideas is beyond me (slightly in a contrast with Genesis, which at the beginning had a bit of a slowness); of impressionistic vivacity. "Ladies and gentleman", I don't wish my appreciative as possible presentation to be among many articles saying that the album is of ultimate reference, neither even one from the same compulsive idea that Foxtrot has the un-equitable value in front of many others. Moreover I only intend, as I've said already, between the lines, to appreciate something I regard as more than a reputable effect of progressive rock music, without forgetting naturally its importance of musical gesture or its caliber of a pretended work, in words from which the essential will still break away, staying in the music, the experience, the impression as most powerful. Or maybe only to compliment an album whose lacks are incredibly few or dissolutive.

So a piece de resistance in our artistic genre, in splendid features, of style charisma, up-holding gentle crosses of extreme, soft, vintage , classic, priceless, entertaining and mystifying harmony, with all the continuations of those idea, from the too simple reason that Genesis have reached their felt perfection. Or the special nuance and the eccentric inclination in years and accomplishments that aren't less of a great thing (or cannot, in the most blurry accent, be that much low). In the verve of a class style and of anyhow but not usual defined interpretation, after the poetic Trespass and the dark-specialized Nursery Cryme came "naturally" an even bigger schwung. Foxtrot is for me the wholesome of the generic Genesis figure, in the colors of full progressive (though, I assume, this "label" talk should be least used), of abstract, of esthetic nature concept, of symbols that catch that grace moment. In pondered words and in un-adverse hopes, a successful logic. In the specific and acceptable (or accepted) consensus of progressive music as one for the mind and the soul, Foxtrot leads to fullness complex revolutions, from their own (Genesis, that is) outtake in front of performance, to a show of hands not at all pompous by themselves (though it would be a strength) and to a great effect towards dazzling and "in a flash" overleaping listening. No reason to not live in the classic, when such a manifest like Genesis's one exists.

Neither the instantaneous superlative, neither the pressuring "compulsory". The great success means the great pleasure, the great distinction. Without the magic expression and without the sensational epic, after all, the consistent frames of the album can be bit thinned and fragile in echo. Referring finally to some critic (that I did not call absent, but incredibly benefic and nuanced), the album is individualist in effects and changing colors, mounting scenes from rock to subset art, from simple to that extravagance we can share, from intentional to incidental, from captivating to in the "free-form" virtue; from blown minds to fallen cliques. At the co-worked impression can only be an unpronounced concept or an "exaggerated" abstract. The style, shape, creation and imagination are in permitted ways remarked, thus to some of the finest insignias. At a paragraph's end, my conclusion is that Foxtrot's merit is one of my most non-superficial. Because the possible sensation of a "simple" and "up-made" (again, without the 24 minutes surprise) can't be vague. And so, from a contrast of albums maybe more spirited, this one sounds unusual and convincing, behind all definitions, in passion of all emotions.

Six moments of more or less genius; from which an epic scrambles the entire Genesis known or unrecognized at all mentality (and to which I'll reserve separate words). From the "rest", three distinguish as referential, one finds not only prettiness in the obscure melody, but also a little passivity (Time Table) and Horizons remains at a discrete tasty intermezzo. All five are in the try-out of both contrast and the final example and the solid rebound. Words stay short to the impressions of emotive and "beatitude" measures. Watcher Of The Skies is my soul piece, given some uplifting lyrics and, why to not mention, a catchy leitmotiv (percussion, ABAB., other things). The piece has a high idea placed on an inventive dynamic and on some sharp features. The sensation is drawn and dramatic, thanks to susceptible gestures of sensible, easy, poetic senses exploding or, by all contrary means, imploding; nothing truly easy, not a banal rhythm and a small talent, but instantaneous as a hit of healthy perspective; "musically shameless". Get 'Em Out By Friday complicates similarly in worthy burn of typical unleash, by an instrumental that here and there isn't sane at all, in a lucid emotion made by word epithets, with also a forte hand on the usually loose esthetic (clear, acid in moments then softened for contrast's sake, music) and with techniques and undergoes, being of recognizable too fictive moment magic. With a much more weakened appeal, Can-Utility and the Coastliners can just as well be in the penumbra of the mentioned standards, but I will mention it as top quality, as of a totally progressive composition; even surprising in the flash of expecting little. Having its own part of drama in musical notes and "corporeality" in the minded lyric, the piece shines and is difficult to pronounce.

Though I've already unfolded abnormally in the album's presentation, Supper's Ready, the most necessary example, after me, in showing the classic geniality of Genesis and the most blissful, even denatured, culminant point they've reached, has its shared chapter. I don't announce myself as the person to understand and over-understand the concept, because I'm mostly not at all; so it happens many times that I let go in the listening virtue and let pleasure prime; catching some succinct preferred moments or finding no ideal in accepting simple fragments from a multitude. Of an easily decipherable material goes mentioned the challenging and hallucinating abstract (the sole entire abstract, after all, that determines the abstract Foxtrot), the more or less obvious originality and the self-figure of heavy methods (suspended complexity, in other words). Otherwise, a sensational and imaginary curiosity can portray the act: simple (by paradox) to follow, or difficult to swallow; ironic, active, avanting, firm, constructive, musical, as a symbol of the persuasive, set in its narrative wire - or - in a lost mind, incredibly unstable, experimental and fantastic, moody or dropped-heavy; of vital lyric fun, sarcasm, dramatic, uncertainty - or - by the eloquent essence of a moving composition. Strapping or loose, dazzling or only uplifting, groundbreaking or only 24 minutes as a spirit and much unreal concept agony. The most interesting musical joke or the most powerful collapse of forces and sensations. Hat's off.

Finale. An eulogy effort, by each step and unknown suspense. Never a sure thing that Genesis focused and played with art in none of their moments. But that is certainly what resonates. Being a wonderful thing. I've avoided and do still avoid rigid terms, still at the minor detail of recommendation, Foxtrot's nothing but the special and superb example of progressive rock. My favorite; my kind of essential; the word of classic, unusually; the masterpiece taste, in whatever corner of though you find it.