SILENT TRANSITION

FLAME DREAM, founded in 1977 and disbanded 10 years later, produces keyboard-based symphonic prog. Thirty-eight years later, this 7th album is released.

'No Comfort Zone' has a latent atmospheric intro and a grandiloquent opening; the keyboards are pushed forward by the powerful, imposing drums; a sharp break with the verse, as on the last SUPERTRAMP albums, lacking creative soul. The chorus recalls one of Archangel's songs, not the vocals, which prove to be the weak link. The instrumental break with its nervous groove imprints a modern, slow sound, inviting a fresh, sustained drift; the second break recalls The Who and Barclay James Harvest before the well-crafted chorus. The finale features a succession of keyboard layers, a hint of SAGA?yes, I'm a fan?leaving me perplexed between very good and average in terms of the instrumental, the chorus, and the vocals. 'Silent Transition', a staccato riff reminiscent of a famous heavy metal band, complemented by a layer of playful keyboards just to contradict myself; a nice nursery rhyme verse lacking pep; in fact, you have to wait for the prog shift into bossa nova, supported by South American percussion and a borderline jazzy guitar solo to take off. This warm guitar and swirling keyboard are reminiscent of SUPERTRAMP; the outro with melancholic flute and piano brings us back to reality. 'Velvet Clouds', divine choirs and Olympian bells, spleen-filled reverberating guitar; a honeyed, easy verse that makes us wait for the break on ALAN PARSONS with the metronomic bass. The cut is clean, notes lag, wooden piano, YES is not far away. The Andalusian piano-acoustic guitar interlude and the keyboard that looks to Al Di MEOLA with its melting air; the fat keyboard à la MANFRED MANN makes us dream and goes into divine battle.

'Out from the Sky' has a fleeting Genesisian air on 'The Lamb' bringing a typical Elton JOHN ballad for the bucolic side; slow tempo, keyboards in the background, quite weak vocal, used, bringing back to vintage. 'Signal on the Shores' another beautiful intro, the best of this album: Gregorian chants, timpani, solemn atmosphere, Olympian percussion, notes of sheared, progressive keyboards. I dread the vocal and fall on a magnificently arranged instrumental of fiery keyboards, dramatic drums and the catchy guitar solo; the title of the swirling album. 'Winding Paths' another remarkable intro, progressive as COLLAGE did so well on 'Moonshine'. After there is this after, the simple, basic air, almost in glacial dark wave with the synth pop; We have to wait for the guitar surfing on Yngwie MALMTEEN for the dithyrambic flight. Velvety keyboards on Gary NUMAN, I insist, then it returns to this much more interesting instrumental mode of operation. Genesis-esque layers from the 80s, guitar on FOCUS, explosive drums that seem to come out of the speakers; a sub-drum is added halfway through, a mix of IQ keyboards then a Malmsteen-esque solo. Vocals before the explosive, symphonic, cinematic finale; a disconcerting classic progressive freshness.

FLAME DREAM dared to release the album to please themselves, and they did well. The melodic sound, dark or cheerful, is perfect, the instruments well-placed. Guitarist Alex delivers, having worked with Steve WILSON. Peter has a monotonous voice that is lacking, however, and ultimately highlights the orchestration, even if his lyrics about the schizoid world we live in must be interesting. Melodic and symphonic prog rock with hints of YES, IQ and KNIGHT AREA.

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