UK

1. In the Dead of Night tumbles, yes.... directly I feel the sounds of YES, chance or...not; the bass and John's voice reassures, no we are elsewhere; Bill imposes a syncopated rhythm while Allan begins to show the end of his guitar; well it smells like YES all the same, it smells like future SAGA for this snarling rhythm, it smells like the ephemeral U.K. group which at least had fun for a while; Allan starts with a solo in the style of AL DI MEOLA, suave, warm, jazzy, go to ZAPPA too, in short structured, invasive and very progressive; blood flows well 2. By the Light of Day continues, John's soft voice, Bill's crystalline percussion, Eddie's synths and his violin warm up the atmosphere, the sound... dark, captivating, the drums continue on the KING atmosphere CRIMSON; one moment you say to yourself it's really this mega group, it's going to continue; Eddie covers us with a flight of spatial notes 3. Presto Vivace and Reprise continues by changing tone, range; a whirling symphonic escapade which surfs on KING again, YES always for this keyboard; the voice on ASIA which will also be a mega group whatever people say; the tone always cheerful, Bill hammers his barrels and guides his acolytes on this fresh, modern title -

4. Thirty Years arrives, delicate synth arpeggio and guitar; Eddie gives John the opportunity to let his voice wander on a VANGELIS-style composition, astonishing; solemn air which seeks itself, vocal in the distance, a sound which seeks itself and which imprints on many other groups, entertaining to find the different imprints and disheartening not to find their own style; mid-term reminiscence of ZAPPA on an adventurous jazz-prog gradient; Allan shows his multi-functional touch moving from jazz to pop on a singular digression; John takes the reins and leads back towards the Crimson King, cautiously while Eddie delivers one last soaring tune 5. Alaska for this intro which made me think of 'Careful' by SAGA; interesting to know if Gilmour didn't find some agreements there, in short; the dark, icy intro, easy play on words, very good progressive moment with vibrations and musical mystery, bam the delicate jazzy keyboard hits the ear, we're definitely going for ELP here, well, that's what my ear tells me, just before introducing 6. Time to Kill for perhaps the title that suits them best; mixture of sounds and digressions throughout, consensual for those who read me; and then bam break like MANFRED MANN'S EARTH BAND did so well, break coming from nowhere; the synth is overtaken by Eddie's violin looking towards the SOLSTICE finally the opposite you will understand; a superb moment in the lineage of a prog which aims to be very popular 7. Nevermore and its typical Andalusian intro, muffled and its violin slurry bringing the common vocal, ASIA not far away; one might believe but no one undergoes the progressive approach to the limit of improvisation; the musicians give it their all to create a unique sound, a slow progressive drift off the beaten track in the end; the air takes the turn of the second varied break, with the improvisation recalling what KING CRIMSON had been able to do; the musical climate is held by Bill and Eddie above all and Allan sprinkles the title with brilliant notes 8. Mental Medication for the dithyrambic finale or the musical crucible; a title based on prog rock-jazz-fusion, the second third between a KING CRIMSON, a Michel PETRUCCIANI accompanied by his sidekick Didier LOCKWOOD and a PORCUPINE TREE without violin; de facto fusional and avant-garde group. (3.5)