SNOWTORCH

1. Snowtorch - Part One with 4 drawers for a progressive, varied and intense piece; rock, prog, prog folk, colorful musical climates that span many genres; the emphasis on piano, keyboards, melodies; a sound on the GENESIS of yesteryear, on the FLOWER KINGS, on a Neal MORSE; flute, tambourine, squirting guitar, the perfect 2010 decade production in itself; no boredom, atmospheres with the voices of Linda, Molly, Ariel and Valerie in duo, trio and quartet twirling on bucolic melodies with fairground organ, with grandiloquent air that can be closer to the soundtrack of 'Fantom of the paradise' , from a progressive, baroque and decadent Alice COOPER, from a WHO concept; a sound apart, prog as we no longer dared to imagine, creative, varied, intimate and contemplative; a recreational atmosphere that borders on improvisation with this majestic piano solo; a major piece which shows that creating is much more enjoyable than 'recopying' pieces from the old ones; finale with choirs for a while before returning to jazzy keyboards, with a violin in the distance, a cello which reminds me of the work of MAGYAR POSSE, also explosive; in short, a progressive piece that passes by itself in your mind 2. Helix like a blade bringing a symphonic climate, delicate, carnal vocal, a Patti SMITH-style slow, a crescendic climate on a MAGENTA, a MOSTLY AUTUMN, on a feverish Kate BUSH; a slow, moving rise, a little sound effect and here is a title which is not just an interlude but a little gem

3. Snowtorch - Part Two with 3 drawers here, keyboards and choirs intro, arpeggio imprinting the tune, a rise of more than 3 minutes with metronomic drums to start with a discordant sound effect with icy wind; acoustic western guitar and a heavy riff accompanying the keyboard, the ever-present drums avoiding boredom; this is the key word of this progressive piece which now sends on a Genesisian organ... energetic; it's just halfway through that the voice of one of the singers begins; every 10 minutes you are entitled to a papa papa pappa which would be laughable in French; there it is cheerful that all languages are not equal; here is a guitar solo and phrasing eyeing that of Alice again; the finale on this piano holding the frantic rhythm with the warm choirs 4. (hidden, uncredited) and a folk title with a steady rhythm, somewhere between festive, bucolic and solemn; just enjoyable to remember that this album is giant.