DIGITAL LIFE

"Out of the Ashes" begins dynamically with synths, the expressive pad eyeing the AOR and Yes of the 80s, energetic. A beautiful instrumental with Roby at the forefront, a swirling guitar solo flirting with Saga, an easy melodic and grandiloquent tune making me prick up my ears. "The Invention" follows melodic, baroque on Bach, the keyboards twirling, like in the blessed time when the organ was king. Another orchestral on the works of Don Airey, fruity, airy, vintage. "Fight the Good Fight" continues, a Cars tune in new-wave quickly erased by a velvety piano, the riff and the vocal take me back to the monstrous Triumph, the riff eyeing Kansas, enjoyable because it recalls the blessed AOR of radio stations. A breath of fresh air half-rock, half-hard, rhythmic and fruity with melting guitar/keyboard solos calling for regression. "Simple Complexity Overture" returns to the instrumental, featuring percussive keyboards and acoustic guitar, followed by guitar solos from the three different musicians.

"Digital Life Suite" begins at over 34 minutes: "Arrival" and its crystalline, childlike piano, a gentle nursery rhyme as a preamble. A very good track with a form of repetition and a jazzy-rock break for an epic finale. The outro, very focused on futuristic 80s synth, launches "New Beginnings" for the airy piano, inherited from Styx, quickly joined by the sound of Kansas. A classic rock of yesteryear with Hadi's vocals over those of Triumph, for an intense memory. The keyboards take the rhythmic part, and the guitars the solos on the very high, slightly dated final choruses. "Digital Life" has the same tempo, choruses, solos, warm keyboards; it's beautiful but repetitive. beautiful pad rolls cannot erase these notes heard from the end of the 70s. The keyboard and the choirs would become aggressive, the final guitar solo touching. "Longing" for the delicate, divine piano intermezzo, eyeing Wakeman, Emerson, Lord and Don Airey in the lead; moment where the piano is king. "Age of Lies" embellished with the guitar for the cinematic intro, between spatial and bluesy. Two minutes of musical dream before returning to the consensual title, on the warm US ballad. The break passes on the bluesy framework then on the unstoppable AOR. The synth, electronic, used finale, the perfect guitar before the oiled choir. "A.I. Masters (Fall of Man)" same musical aura, powerful pad, pregnant guitar, omnipresent keyboards and oppressive choirs. A fine stylistic exercise that nevertheless wears thin due to its lack of singularity, with Styx, Kansas, and Saga coming up too often.

Digital Life Project releases a highly orchestral album where keyboards reign supreme; an almost concept album about the birth of a baby robot controlled by AI, as current events dictate. Very fresh, spatial, and slightly repetitive, as if caught in a musical glass tube. Originally released on Progcensor. (3.5).

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