ESCAPE FROM SHADOWS

1. Overture, a soaring, cinematic, ethereal, classical entrance, a whiff of Amphibia in my opinion; hold on to VANGELIS now; opening march for 2. Fear and Guilt and its Ronda-esque piece, with its back-and-forth like an undertow, its solemn break with melting choirs supporting the majestic, dreamlike guitar; symphonic prog metal eyeing PETRUCCI, I hope the two buddies don't take it badly; the final keyboard is reminiscent of DREAM THEATER, I can't help it, while the solo suddenly rips through with this finale, both multiplied and fluid. 3. Invisible Wars, for the special mention to Manu and Patrice for the 80s piece that sets the tone, that fills the air, without untimely machine-gunning; Patrick's guitar unfurls, liquid, a torrent of notes that nestles in an undertow and bubbles a bit, a bluesy air indeed, heavy; The finale gives pride of place to the keyboard, the highlight of this album, which gives space to the four musicians present; it smells of Derek Sherinian, let's go for one last neo-classical tune à la Malmsteen, it's starting to get serious. 4. "Whispery Hopes" changes tone, with a time-honored organ in the background, synth and shearing guitar up front, then the tune gets going with the guitar that will mow the crops in the evening. The seeds fall like the notes of his guitar, a warm, rustic cascade. 5. "Back on Track" is classic, in the guitar hero metal vein of Malmsteen, to harvest the notes in the wine press; well, a hint of Satriani, whom I saw not long ago distilling tunes in the basket; it's his album, so he can afford it, but the old-fashioned organ amplifies the warmth given off by these notes coming very quickly from the guitar neck. It rolls right to the end, no boredom.

6. Escape from Shadows, with a sound straight out of a DEEP PURPLE album?yes, my fault for always trying to find reminiscences. When the keyboard unites the guitar for a moment of fusion, of symbiosis, when the prog blood oozes from the album with the variation where Guers has his eclectic solo moment. Patrick adds to it by aligning the notes in sets of ten, accumulating a nice pile; a heavy metallic finale, like a torrent of embers. 7. Now We're Home, with the crystalline acoustic slide, yes, Ry COODER. Gaëlle BUSWEL takes over the vocals, nervous, crunchy, a nod to ROZEDALE and Amandyn, as if female voices are a plus. Well, the track is bluesy above all, rock too, with a shivering keyboard solo from Manu. The tortured bluesy guitar arrives to bring everyone into agreement; it's her who guides it. In short, this sung track is worth noting, a moment of relaxation. 8. Hold on to Your Dreams ... More classical at the start to avoid a succession of redundant tracks; the Rondat seal is expressed in a tough moment that shows his dexterity, he who calls himself just an average musician, average, my eye, Patrick, you're touching! 9. From Nowhere with Pascal Vigné, a good guitar mate who happened to be passing by, there was light! The captivating neo-classical track for the syrupy intro, in short, prog as I like it... much better than the ad; after that, it's Pascal who has fun playing, he plays alone, they play together, I'll let you see, guess, listen; the ballad with the hypnotic pad redundant to give off the South American atmosphere in the distance; the piano also gets involved, the organ, ah the guitar riff calms things down, we're really into unleashed bluesy rock boogie; a hint of the famous 'Rape of the Earth' I think; It's almost over and Manu starts a battle of notes with Patrick. I'm listening, it's going too fast. Pause, replay, wow! The fat finale, oozing hard classical notes. Surely the musician had listened to a lot of classical music theory? In short, the finale unfolds. 10. Prelude and Allegro (In The Style of Pugnani) Yes, the album ends with a reinterpretation of 2008, with "Hervé N'KAOUA." Neoclassical with a Yngwie twist, maybe just Patrick's. In short, it's already finished, this stuff is a good listen!