AWAITING MADRE

'Awaiting' guitar arpeggio bringing Chris' soft voice to a melodic, bucolic, cutesy air of yesteryear; sudden break jazzy guitar solo and its crystalline piano variation; a little Moog follows for the consensual air, without waves, melody when you hold us; ah a bold synth solo, the piano swirls again; Genesisian vintage atmosphere, the Beatles for a lively vintage passage while becoming; halfway through the piano takes over with Pascal's 6-string guitar for the intimate moment; jarrian electronic break before a new quiet verse, break around 17 minutes for the long-awaited rise with the angry guitar solo, the Gabrielesque flute and the bass; moment of plenitude which could end there, with a Hackettian touch of great beauty; the return of a final, slightly soporific verse; the final clock reminding us of this.

'Mother' continues the ticking yes the piece can be listened to in 50 minutes at a time; guitar arpeggio bringing a rural setting then evolving into a warm flamenco atmosphere; 5 minutes of pure happiness, a bit of 'forbidden games' before George's singing in Spanish: you have to prepare yourself for it, a change of scenery, it makes or breaks; the break then the return of the voice in stereo soothes this dilemma and fits into the neo-folk-progressive orchestration; phrasing halfway through to settle down and it starts again on a Camelian decline with typical guitar and symphonic synth, zest of Yes. The spoken voice on the flamenco tune slows me down, well the diversity saves with this new wave synth and this magical 6 strings; the Genesisian keyboard, we are of course on Genesis; the vocal breaks the atmosphere and pulls towards the arid North African plateaus. Final flute-piano and grandiloquent guitar solo then Vangelis-style keyboard which buzzes in the head even after the end. It's time.

A beautiful vintage album from the 70s and 80s with a distinctive sound. (3.5)