SEASONS END

1. The King of Sunset Town with its reassuring intro, a beautiful build-up, everything in order, and then, and then the gripping vocal, Marillion is over; well, we'll go with it; the similarity, the music, the dissimilarity, this linear voice that comes over it like a fly on the dung heap at the bottom of the garden; there's the more expressive chorus, but too much so, putting the instrumental in the background; doubtful 2. Easter with its simple but captivating guitar arpeggio, the video I saw had seduced me with the black and white used; the catchy melody with this airy keyboard guiding Steve, the bagpipes amplifying for a contemplative and moving piece with yet another fade-out, however 3. The Uninvited Guest for the video with the unwanted guest, what, Steve is out of place? In short, the track is short and energetic, with the vocals being a bit too strong, and Steve's solo being too much of a finale. 4. Seasons End for the eponymous track on the instrumental MARILLION; the vocals are slow, lacking expression; it's Mark with his keyboards who maintains the melody with the crystalline guitar in the background; a slow build-up that maintains the anticipation, and the explosive guitar solo reassures me; I'm definitely on familiar ground, phew; the grandiloquence of the solemn crescendo that lasts until the 5-minute mark, beautiful but monolithic; and then, and then, the atmospheric drift in the distance that reassures and disturbs me. I would have imagined something other than this fade-out, it's starting to get old.

5. Holloway Girl for the B-side, yes, one of the last cassettes purchased, with the hope of having some great tracks; a consensual track highlighting, well, as a bonus, the vocals, erasing the instrumentation that ends up in the background; There's the pop rock chorus, and the progressive magic is missing; 6. Berlin, with its swirling guitar and electric piano combination, with Steve adding to it; Phil's sax adds an 80s vibe, that of SUPERTRAMP, PINK FLOYD, controlled freshness, and nonchalance; the build-up stops abruptly, and the break with crows at the key, the military pad, the atmosphere of Scotland is definitely there; Steve takes the floor again, harangues, it finally works well, his voice elevates the song; the solo that blends with it, an interesting innovation; yes, but the fade-out breaks the atmosphere even if the keyboard maintains hope, come on, Steve, talk to us a little more. 7. After Me, another acoustic intro, and another high vocal; a nursery rhyme that's about to swell and is starting to seduce me, ah melted, ouch. 8. Hooks in You arrives just to hook me before it falls; an energetic radio edit that stirs and sets the mood on fire; why not? the heavy riff, the solo that plays hard like in the good old days before 9. The Space... arrives; the intro, this intro, ah there I find the sound again; ah there it's something else, the melancholic guitar and the vocal that slides over it, not before; Here is MARILLION playing with the association of orchestration and interwoven vocals; the keyboard makes you go into syncopation, the break makes you catch your breath; there is a progressive drift, there is a bolero behind, there is genius there with the warm choirs launched at full speed on Steve's solo; in short, the title that leaves me speechless.

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