VOICES BEYOND MY CURTAIN

1. The Knell, a beautiful start, then a track that's worth the pre-break drumming, a la GENESIS; the break looks to MARILLION and the more classic RENAISSANCE, immense with the guitar arpeggio and the melting synth; Laura reeling off her words one after the other, the highlight of this atypical band with a unique album; we feel the candor of neo-classical mixed with neo-prog; we feel the age of a genre that had already evolved, hence this familiar sound; a beautiful final rise. 2. Craven Smiles for the neo-classical atmosphere and the flowing melodic sound; a beautiful ballad with its minimalist synth solo associated with Silvio Gilmour's guitar; a Marillion-esque finale again. 3. Prisoner of Cutting Light for Laura's voice, still too lonely; it would take the prog metal of the new millennium with NIGHTWISH, EPICA, and EVANESCENCE to finally gain recognition for the female voice in PROG in general; A good track that's searching for itself, rough, somewhere between neo and prog metal, more edgy; they should have strummed up this sub-drum in my opinion; the keyboards are great and the vocals soar, Silvio playing guitar hero; the latent break, the comeback, and the borderline neo post-rock variation before its time; good but very long and risks losing concentration.

4. Choices for the bombastic side of the sound, emphatic, symphonic, even heavy, what I loved about this track is that it moved a little more and avoided the soporific side of some proggy bands; this sound will take me to LACRIMOSA for a more focused genre, oh so captivating and wonderful. In short, the track has the perfect length to avoid getting stuck. 5. Flying To Fade is good but redundant, good but the wear is noticeable; I love it on its own. It gets a bit oversaturated, which is a shame because there were a lot of ideas about merging neo with heavy prog somewhere. In fact, the sound makes MARILLION's debut sound 10 years out of sync. In the meantime, MARILLION had split up, invented another genre, PENDRAGON was reborn with their fabulous 'The World' concept. In short, the neo prog world was no longer the same. 6. Pale Light Of The Mornin for the flute, bringing an interesting depressive folk vibe; the best part is the guitar solo that takes me to virgin prog territory. At one point, the vocals take me back to ALBION, with Anna's magnificent voice there too; an ambient break and a wild guitar solo, superb but too forward and ultimately very flat, a musical paradox; the finale with the vocals in stereo, a good idea, both beautiful and redundant.

TALE CUE came too late in the 90s; in the 80s, I would have praised them; from the second zone MARILLION with a latent ambient side hovering solemn plaintive.

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