TALES OF IMAGINARY MOVIES

Millenium, a group born in 1999 that needs no introduction with Ryszard at the helm, released their 17th neo- prog album there; nothing new but flawless, with a new voice, David and his warm refrains quickly remaining in memory; marked solos ranging from Ryszard's keyboards to Piotr's strings; more symphonic, more emphatic with the sick world. A style originally on Pendragon, Collage, IQ or Pink Floyd, now a clean, clear and intense sound. A story about David seeking a film role.

'Tales Of Imaginary Movies (The Opening Credits)' and one of the most beautiful symphonic intro heard, quickly assimilated; juicy guitar, heavy, haunting synths and a finale that strongly reminds me of Ayreon! 'Invisible Superhero' continues on a consensual tempo eyeing the 70's heavy prog, the 80's fruity; 1'30'' intro before David adjusts his voice, reminiscent of Barclay James Harvest; soaring air, backing vocals and Piotr with his warm guitar; between the melancholy sweetness of the cinematic synth and the explosion of the chorus-hymn; the guitar solo that comes out sends very high, much more than at the last concert, perhaps badly placed in the room in short 'A World Full Of Spies' still continues on these footsteps and an agreed rock tune; Eloy, BJH again, tight beat that stays in the head quickly and solo that still tears; soft solo break of the keyboard, a second more choppy then the bewitching guitar; AOR melodic piece in the genre. 'Brightness Hidden In The Dark' the footsteps recede and the air goes on a remake ballad; catchy melody where the specter of Pink Floyd 'The Wall' emerges; David directs his voice to a more bewitching aspect, a bit of Queen, of Kansas on guitar, a bit of 'The Trial' behind; air that sweats with emotion and memory; break with shots in the distance and the last guitar solo that reminds me of Eagles'. oh how beautiful

'A Comedy Of Love' title AOR which denotes, mat with a dynamic flute, it smells good of the 80's and the solo flows like a Mark Knopfler; the soft voice that rises before Piotr lets go of the watts and sets it on fire, a bit of Toto, of Sniff 'n' the Tears. 'The Sounds Of War' online with the chopper; Irish tune with flute, more syncopated drums; pop rock with a progressive declination; association between a gripping beat, the suave voice of David and the soaring guitar vibrating, oozing, spleen proven. 'Memories In Tears' pastoral melody, cinematic tune of 'Rencontres du 3e Type', Piotr setting fire from the start; David launches the tone on a languorous atmosphere, the keyboards raise the air between Genesis and a BJH; simple then it rises, it howls, the military battery adds to the solemn side; the guitar comes to reinforce the rhythm tearing the air then 'Second Earth' arrives, sad end-of- war melody, melancholy piano accompanying David and symphonic violin synths for the last chance, the disturbing Game Over. 'Tales Of Imaginary Movies (The End Credits)' hovering in cover, riff ' la Ayreon, the Iron Maiden of 'Seventh son', like the English guitar of the 60's, like a few notes from the Telephone... my wife passes by there ; it rises, dantesque, grandiloquent, sublimely symphonic. Piotr makes his strings howl, Ryszard his keys!

Millenium has changed singers but the Kramarski framework continues to deliver melodic albums that are easily accessible, perhaps too precisely; a dense orchestral component, endless floydian flights, various reminiscences offering a good summary of what prog has done best.