RESISTANCE

1. A Missile bursts forth like the title, uncompromising; nervous, taking everything in its path, the voice, the instrumentation, the break with Peter who combines the voice of the 80s with that of the 2020s. Neil on keyboards shows that neo has evolved well with a more nervous, heady sound. 2. Rise intro classy, ​​laudatory, Olympian; piece falling into the bombastic emphasis with the unique style dear to IQ, heavy, weighty, Teutonic neo prog that sets it apart; the sound is captivating, the rise with the vocals. 3. Stay Down intro monolithic piano arpeggio; the synth vibrating on the GENESIS era just the right amount of regressive, a slow and long rise that will explode on a heavy guitar riff, Peter who will scream calmly and the keyboards will flood the rest of the musical spectrum still free; high Arab atmosphere, neo that swells, Paul abuses his drumsticks; 4. Alampandria returns to the missile with this spatial Dolby synth; an instrumental that extends the invasive fat sound with a final vocal on the catchy Floydian solo and its outro riff. 5. Shallow Bay for the piano arpeggio, delicate, crystalline, the all-purpose track that doesn't look like much and which drifts year after year in crescendo with a superb guitar solo from Michael, like in the good old days of melting neo. 6. If Anything velvety synth, like on the slow SPRINGSTEEN, Philadelphia, Peter equal to himself, the track visceral lament, tribute anthem with the acoustic guitar, beauty is priceless sometimes; An outro that comes out of nowhere, dark and gloomy, with the arrival of the organ amplifying the atmosphere to make your hair stand on end. 7. For Another Lifetime for the 3-minute intro, a latent space with its fairground organ, the phrasing, and its post-ambient drift, all for the duration of a song; after the atmosphere on GENESIS for the keyboard, the evolution into a long crescendo embellished with various solos, variations rather than deliberate breaks; the plus is Peter's mantra-like voice and Michael's raging guitar, bordering on heavy, which shows an IQ in full swing; this song is bombastic and poised with velvety and charismatic keyboards. A substitute for GENESIS and MARILLION with added marshmallow sweetness; the finale suddenly backpedals and the piano returns, Peter laying down his distinctive voice to digest this long and very good song.

1. The Great Spirit Way, with its 3-minute prog opening, pompous, airy, and solemn; a sweeping track that, after Peter's velvety speech, departs into intense neo-prog wanderings, with the pervasive keyboard, incisive guitar, and energetic pad. The mid-track break with acoustic guitar, the piano searching for itself, and the keyboard that sends to the melodic prog cathedral with symphonic, Genesis-like overtones, much more than Marillion-like; the finale sets the ship down to dock smoothly, for the album's track. 2. Fire and Security, for a radio edit, a track calibrated under the 5-minute mark to concentrate the IQ sound for those who are not yet familiar with it. The plus is the stronger, gripping, invasive sound, the resulting musical emphasis, and don't forget the divine solo from the great navigator that is Michael. 3. Perfect Space follows for those who don't like short IQ; A martial pad, an Andalusian guitar, the instrumental takes over, Peter adding words to it. The suave guitar, the melting keyboard, and then the usual build-up with the haranguing vocals and the orchestration swelling as it goes. Neil uses his keyboards like Tony would have if GENESIS had continued, astonishing this similarity, this emphasis, this symphonic touch. 4. Fallout for the finale, a melting pot after these 110 minutes with the IQ-esque intro, slow start; the verse with its invasive synth layers, the syrupy vocals that stick to the anvils. The often acoustic break here on a piano arpeggio allows us to settle down and give change, just before launching into an epic solo from Michael, nervous, captivated, and tenacious as desired. Cinematic outro, spatial, ethereal.

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