F E A R (F*** EVERYONE AND RUN)

- El Dorado with its 16 tormented minutes, with 1. Long-Shadowed Sun ... the bucolic, cinematic-ambient opening, the melancholic crooner voice 2. The Gold follows, the atmosphere and the Steve and Steve partnership for a melting marshmallow, 3. Demolished Lives comes in as a break, a good memory of the hint of 'Marbles' on a melancholic wandering, itself sliding into 4. F E A R eponymous which follows and escalates the sauce with the captivating crescendo that sends shivers down your spine and a guitar solo tangled in Mark's spidery keyboards 5. The Grandchildren Of Apes calmly strands in a solemn cappella followed by the evanescent piano, a chilling atmosphere 6. Living In F E A R comes as an interlude for the consensual title for a rising black music, a more pop rock track with its dose of emotion - The Leavers as a second triptych to drawers and its 18 minutes on the clock, with 7. Wake Up In Music in a very jerky up-tempo where the vocals seem to drown in the keyboard-bass-guitar sequence, the pad being there as a basic framework 8. The Remainers entr'acte progressive break landing and launching 9. Vapor Trails In The Sky on a melancholic suite with crystal piano, dripping sweetness offering an ambient cinematic space, plane landing then impalpable guitar of Steve unique; the latent climate blocking the passing sound, a moment of pure beauty, simple and beautiful, introducing 10. The Jumble Of Days with Steve and his hushed voice narrating the story, quickly cut off by the other Steve drawing notes beyond the sound, sending into limbo; a drawer full of sensitivity that rushes towards 11. One Tonight for the grandiloquent finale, wind instruments further raising the air on a Charisma rise, the one that stirs the stomach; a guitar solo in the wind and the finale 12. White Paper arrives, second island on this album; archaic piano and vocal variation, slow ambient-symphonic primary rise with a velvety keyboard, Steve's fretless bass, in short the melodic touch that lacks the Marillionian touch of yesteryear - The New Kings closes this FEAR triptych with its 17 minutes and its 13. Fuck Everyone And Run where everything is written; Still a mid-tempo base that will rise, climbing the musical fields with its eternal under-emphasized guitar solo and those invasive keyboards, present in the background, flooding each track. 14. Russia's Locked Doors for the umpteenth rise on a Hogarthian crescendo, beautiful but expected, conventional, a mix that definitively places the album in the concept section, similar sounds and a final guitar solo all finesse, but also restrained, lacking the madness of the Fisherian pieces. 15. A Scary Sky follows, calming this solo and comes to sail, hitting the musical bridge, Steve adding another layer on the same wave of notes, before the raging guitar of 16. Why Is Nothing Ever True? finally comes from the start to influence the musical flavor, quickly seconded by the keyboards of Mark, Tony's counterpart for GENESIS; A plane flies by and Steve comes to harangue ad libitum to once again overwhelm the fans who have embraced their cause. 17. Tomorrow's New Country in the outro, solemn piano and religious vocals to close this chapter of a well-stacked concept album. FEAR or nothing.

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