THE SPIN

1. Void Meridian for this dark wave pulsar synth, the fat guitar riff reminiscent of those of ROGUE MALE; Sara captivates with her timbre, reminiscent of THE CURE or KILLING JOKE. Alberto and Marco's guitar solo sets the place on fire before the tune becomes monotonous again; a different sound that puts me on the lookout. 2. At Races draws on the work of THE GATHERING from the beginning, languid and addictive. An intoxicating post-punk sound with the heavy, metronomic rhythm; a whiff of SIOUXSIE in over-the-top mode; an addictive tune, again, it's starting to interest me strongly, a dark, haunting, post-metal wave track, singular and unique, I'm glued to it. 3. Fire on the Roof returns to the basic compulsive synth, bringing the strong, heavy rhythm with this dragging riff. A massive energy, a violent yet contained sound, hard, doomy for the heavy side; the violent, unstructured, dynamite solo with Rocco's machine-gun drum finale is strong, but there's creative energy. 4. Immolation for the electric piano arpeggio with Sara's gently melting bluesy voice; the ballad that suddenly drifts after a final piano stroke; a solo that comes out of nowhere, which struck me at Hellfest, Alberto's solo, astonishing because it's unique; the finale is intended to be calm and lets a few drops of prog blood seep through.

5. The Dress for the cyclothymic explosion from the start, a stoner, latent, ambient sound that lodges between the ears; there's something animal, something compulsive; a Floydian air, a Salvatiere air on this hidden crescendo. Halfway through, there's a break with the crashing bass, its reverberating sound, and then, and then, this trumpet that takes us with the guitar on a jazzy-western slope, a thriller film with the appropriate raincoat; the end with the return of contained violence, but the progressive atmosphere is definitely there. 6. Reveal continues to walk on the lands of Louisiana with these archaic cowboy notes; the guitar searches for its range and it's off for a musical wave full of devastating fury; a frantic blast beat, the sulfate bass, and Sara tames it all with her bewitching voice; a short break that searches for itself and the thunderous solo, in the style of incendiary BLACK SABBATH; the contained frenzy and Sara's screaming assassin vocal that lets loose, slaps. 7. Thicker Blood with the return of dark synth à la LACRIMOSA and a hint of SISTERS OF MERCY; crystalline guitar arpeggio and fragmented Sara, bleeding her words; the explosion allows to move on to a more constructive monolithic mode looking at the origin of black quite simply; the rise can be guessed, Sara imitating Amy overwhelming before her death in complete darkness; doom progressing with again, but what a pleasure, again a gripping, breathtaking guitar solo; a mantra appears, the voice confronts the heavy rhythm, again this invasive sound of ROGUE MALE, what a good memory; illuminating heaviness, musical climate also reminiscent of SAXON, a crescendic title which swells, and what I feared/hoped for finally arrives, a howled deluge of vocal hordes having the cathartic effect of freezing our ears. The silence is there again in the album, staggering.

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