A QUIET TOWN (FEATURING MARCO GRIECO)

"Smile Forever" narration, church bell, harmonica, southern atmosphere; a violin from Louisiana then a flight of synths with choirs, think of ARRAKEEN; vocals on Murphy from BAUHAUS and Nicholls from IQ; story of a murder and its desired revenge; break giving pride of place to the organ, the drums and the nervous electric guitar; majestic final church organ. "The Crime" sounds of footsteps and flute at the start; symphonic organ and juicy drums that accompany Steve's violin; gypsy tune suddenly before a final breathtaking guitar solo and the instrumental once again looking towards the Mississippi. "The Priest" for the sermon evoking the plot before moving into the solemn orchestral moment, flute in front; the organ arrives, the tone becomes Genesisian and bam we start with a confusing ragtime; return to the immense solo guitar verse, the tune of the chorus which is not indifferent, which is gripping. "The Businessman" beautiful violin by Steve; its rock behind, on KANSAS; typical narrated voice, reminiscent of Paul from ARENA; latent break to understand the businessman having been favored by the deceased prostitute and wanting to hide his estrangement from his wife; a still tormented, sensitive guitar solo then the violin and keyboards for a pseudo jam. The bombastic symphonic ending, art-rock before the guitar. "The Mayor" is the most vintage track with the old-time drums and the keyboard pleasantly flirting with that of Tony from GENESIS; the most this removed guitar solo to know that we are well into the 2020 decade! the mayor and his affects for the text, the final climb.

"The Doctor" with the vaudeville intro, yes you know the Charisma Label atmosphere with Lewis' rabbit; de facto regression; shush the perfect alchemy with this synth gifted to take you to the 70s for a while, GENESIS is there in front of you in 2024; the guitar solo feeling the Hackettian notes and the symphonic keyboards for the grandiloquent finale. "Dance of Clues" yes an obvious one, but a beautiful obvious one; I find myself with the start that Mike OLDFIELD would have played, amazed; the piano arpeggio becomes melodic to an Agnès OBEL tune, marshmallow, melting in all its splendor, saloon detour, charleston of unspoken nights; unstoppable interlude melody. "The Solution (Part I)" with Michael TREW of MOON LETTERS on vocals; a Gabrielesque flute accompanies him on this solemn crescendo title, budding with shivers on the skin; a Genesisian sound belonging to SAMURAI OF PROG; the plot signs the murderer, the doctor, the instrumental after this declaration and the memory break; one would say oneself in a musical tribunal with the intrigues and the deliberations; the final guitar solo is heavy. "The Solution (Part II)" with a Tullian touch this time, energetic flute, on OVERHEAD; masterful flute in any case; the mayor would have used sassafras from his wife's factory, yes it is also a great rum for information; well we come back to music with the progressive melting-pot break, concentrated of sounds flirting with the best of a FLOWER KINGS, of a Neal MORSE. "The Report" well let's start again, yes I use my typewriter from the last century; the alto sax sets the rhythm for the end of the film, er the end of the album; enjoyable festive tune, it's jazzy-bossa-Madnessian, catchy, a tear from the PANZERBALLETT, like the soundtrack of the pink panther; the guitar and the organ launch a final fight.

Finally creative progressive rock.

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