THE LAST PINK GLOW: AN INTERPRETATION OF JACK KEROUAC'S THE HAUNTED LIFE

"The Haunted Life" for the melodic prog rock title, melting, airy vocal from Justin with velvety synths on a layer of Hackettian guitar from Myron; lively progressive finale, symphonic and muscular. "It's The Small Things" follows, air pop love song à la ALAN PARSONS embellished with Wesley's trumpet, inducing a jazzy-soul climate where the bass holds the upper hand. "The Haunted Life" with the delicate piano of Tony, yes GENESIS where his aura is very present; consensual title leaning on 'Ripples' less spleen, a beautiful ballad with airy choirs. "If We're Silent & We Listen" starts on a soft heavy pop rock piece, the guitar riff maintaining a sustained tribal rhythm on layers of keyboards with a string quartet amplifying the solemn side. Final aerial deliquescent fade. "The Ballad Of Joe Martin" sinks into a pop song feel, flirting with old R.E.M., a folk accent with slide guitar on a violin base for a very pleasant fresh tune. "Changing Channels" veers into a soft synth track where the Genesis atmosphere emerges; a no-nonsense pop tune, oozing emotion.

"The Ballad Of Wesley Martin" for the consensual ballad "again" where the sax comes to brighten up, as does the clarinet; otherwise, a tune somewhere between mawkish and marshmallow, simplicity and a vintage 80s tone, a hint of Christopher Cross, from the time when you could drive on national roads for pleasure. "Splitting Atoms" finally surprises me; the melancholic tune, slightly PINK FLOYD-esque, the monolithic keyboard progressing to a captivating crescendo, all of which brings a feeling of bliss. The airy guitar and the high but languid voice amplify the solemn unfolding, leading to a warm, meditative piece. Distant female choirs confirm the Floydian hook. "Restless Wanderers" fast interlude in 7/8 with dynamic keyboard decked out with a galloping sax from Richard flirting with SUPERTRAMP, nostalgia on an Anglican soundtrack. "Big City Small Town Blues" radically changes genre; warm, energetic blues, an organ, a guitar, ZZ TOP with ROZEDALE. A fresh, cheerful air that finally gets you moving. "The Last Pink Glow" eponymous piece, progressive; a text that stems from the work of Jack KEROUAC, having lost his manuscript. Some OLDFIELD, some BARCLAY JAMES HARVEST in the distance, a hint of GENESIS echoing through, and a track with a 70s feel. A beautiful, unpretentious, rustic feel right up to the ambient break, opening with fresh, ethereal, then shear notes. The build-up is contained, leaving a firmer vocal that suits the song's atmosphere; the guitar solo ends up annoying me with its analogy to Tony's 1991 album, which I'm eager to listen to again.

ROCKING HORSE MUSIC CLUB, bordering on Chris REA, BARCLAY JAMES HARVEST, and Christopher CROSS; an eclectic crossover album, a blend of numerous ballads with folk, bluesy, and Americana vibes. Originally on profilprog.(3.5)

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