WE'RE HERE BECAUSE WE'RE HERE

1. Thin Air arrives, the sound has changed, less tortured, long flights and a voice which is more aggressive while remaining composed in rock, an ode, a solemn anthem for a rebirth and a crescendic finale which becomes enjoyable, yes they are back; simple, effective 2. Summernight Horizon continues with a packed piano arpeggio, between heavy and light, yes the yin & yang prog; John strikes his instrument in a soft and jerky, electric way while Lee begins to show himself in the distance; tormented air and controlled spleen with choirs to show that all is well in the group, I always believed that... 3. Dreaming Light solemn piano there, Vincent who found his voice on a bucolic lament, on the edge of a storm in the making; a clearing, a romantic title, the piece with symphonic orchestration from the London Session Orchestra and the melancholy that oozes; the post metal side emerging; the finale with the latent atmosphere, perfect with birds in the distance 4. Everything and the 3rd piano start, trademark, Lee more present; a melodic crescendo which will stretch out gently. It's simple, it's beautiful, it's them, let's enjoy.

5. Angels Walk Among Us changes tone, more languid, more marshmallow, tender; a rapid rise in two more energetic steps taken on the wrong foot to raise the emotion, for a proven musical lament before launching 6. Presence and Stan Ambrose in spoken voice with slide guitar and organ for the finale of this breathtaking, simple and beautiful side; a little violin to amplify the melancholy atmosphere; Lee comes for 'Only you' and the vocal rehearsal leans on the famous 'Shroud of False' 7. A Simple Mistake follows by bringing us to a cluttered, foggy, cloud-covered space; dull break halfway through with the rumble of pads and snarling guitar riff; paf a controlled surge; it's not a mistake just a hypnotic crescendo as we like them with the power and restraint associated for the slap of the album

8. Get Off, Get Out arrives, a proven alternative rock tune on an indie, metronomic RADIOHEAD with a sticky sound; final irritated to launch yes everything touches on this hidden concept album, to launch 9. Universal with its saturated dub bass sound, symphonic orchestration and Vincent's desperate vocals; the distinctive sound is loaded with a dose of doom rock lament, snub to their musical beginnings; classical piano break to contradict my feelings; relative lull before the finale in violins to make the proguous recalcitrant cry, claiming that classical instruments have no place; short title which follows with a radio setting, hold a tear in French and we arrive on 10. Hindsight and Maren Svenning in ambient phrasing; post rock like in the good old days, latent air, a seeking rise, Daniel's guitar spleene to whoever wants to hear it; a sweet, intoxicating melody with a languorous sound that smells of older tunes; it increases in tone, slowly but surely for the apoplectic finale, which nevertheless we go back to the origin, the raw sound of ANATHEMA to fall asleep happily.