PETER GABRIEL 4 [AKA: MASK, AKA: SECURITY]

1. The Rhythm of the Heat for the latent rise, for the tribal rhythm, world music is coming fast, Jerry playing like Tarzan; the atmosphere, the climate, the worked voice, prog no longer existed but was regenerating itself in albums of this type with ancient fallen Gods; the final rise, divine, shh listen, an unrestrained, orgasmic progressive trance 2. San Jacinto follows, the keyboard immediately captivates me, the bass hums, hits me, the nauseating pad emerging from a dark jungle fills me with compulsive joy; this heady keyboard, this aggressive voice of Peter, sweetly screaming distress, the beauty of this crescendic piece that swells calmly: the trance is not far away; these sounds so far away that come to collide against our ears, one more slap, it starts strong; This majestic track, like a flight to the future, 'birdy', and the finale with that breath of elsewhere that fills us. 3. I Have the Touch, with its radical change, an easy, Crimsonian track with the screamed guitar, the new-wave synths used to create this syncopated atmosphere that makes us nod; the drums are the musical thread of this track, the percussions likewise having an electroshock effect; rhythm, tonic, shake and you're on it, explosive bass too that moves you; Peter who plays his voice like an instrument, giant like the still latent orgasmic finale, the kick, what. 4. The Family and the Fishing Net, with its Jumanji jungle intro before its time, with traditional Ethiopian flutes, with the martial beat; a piece of dark and heady musical universe, jerky and alerting on an apparent sweetness; there's something of BOWIE, of CRIMSON in this track and the bewitching voice that adds another layer. The scream associated with the guitar, that progressive space of ancient times when man wasn't yet called himself gay, perhaps; a flirtatious break on 'Intruder', even darker and more metallic, and the catchy finale that gets going,

5. Shock the Monkey for the video, remember that it was also a plus in his explosive recognition, which would also traumatize him; well, everything is tribal, everything is world, everything is festive, the music has to get you moving quickly; the chorus, the incisive, chiseled riff, the keyboards that dance with each other, the creative madness, quite simply; why is it so good? Well, of course, for the rhythm that won't leave you in place; for these tinkerings that won't leave you alone and make you jump like a monkey. 6. Lay Your Hands on Me: austere, serious, mysterious, latent monolithic tempo; proven prog base with claps, yes, claps, to get this track going. Peter's austere vocals, this slow, sinuous rise, these velvety, depressed keyboards, Peter's lamenting voice and this roll of archaic drum pads; a puck on it and it's off for the final hypnotic rise, grandiloquent, explosive, apocalyptic. 7. Wallflower for the latent flute and electric piano searching for each other, the air forms and Peter can sing there; the Olympian climb on espaliers that will grow, swell and imprint a feeling of bliss, caught in a musical trance. 8. Kiss of Life in the finale, compulsive, rhythmic to cleanse oneself of this spell endured for 45 minutes. A fresh, invigorating, colorful piece denoting the full spectrum of the Archangel. The deep synth adds to it, I am fulfilled. (4.5).

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