A CHAIR AT THE BACKDOOR

'Protect Us from the Truth' post embellished with progressive slopes, a sax, a crescendo with riff, a final melancholic, dreamlike Genesis solo which makes it a masterpiece. 'Glass' spleen guitar arpeggio reminding me of the famous 'Capt'aine', Kwoon for a bewitching post painting to immerse yourself even further, mono like the group, beautiful like a climb to Olympus. 'The Potter's Field' dark and dark, about Hart's buried, about covid and its horror, sinister beauty. 'Jellyfish Bowl' representing emptiness and the search for occupation, like listening to film music; air latent, monolithic, primal, Sakamoto in sight; the middle break on Simone's crystalline piano and the dreamlike rise recalls Genesis and King Crimson porcupine versions. 'The Heresiarch' changes tone with an energetic rhythmic rock tune for the awakening, the incisive bass which continues on 'The Inner Circle' cinematic, religious choir which denotes, voices in the distance, the piano of Ilaria solemn to 'talk' about Dolcino and Marcion and their heresies. 'A Chair at the Backdoor' from a line in Talk Talk, about fear of arrival, about the door to escape; long track in post crescendo, Gregory with his sax takes him on the frantic crimsonian hints before the more sedate post-rock finale.

Giant the Vine took Mogwai, Radiohead, Wilson and mixed to release this soaring beautiful, post rock album with Genesis and King Crimson 70's a bit, punk rock, Tool rock, early Porcupine trees; dreamlike, innovative, a great breath of fresh musical air.(4.5)

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