TRUE STORIES... AND OTHER LIES

"Echo Of Silent Place" begins progressively, spatially, electronically, a dark rise leading to "Earth Song" for the band's unique tessitura; an AOR made in France between melody and suave atmosphere, an electric riff reminiscent of the 80s, hence the two radio edits? In short, fresh rock on recognized markers and a beautiful progressive variation to reflect on the planet which watches from afar these hominid ants destroying themselves slowly. In short, IT BITES, TOTO in hints, SNIFF' N' THE TEARS further on; well calibrated with this continuous aerial riff. "End Of The Anger" follows, slaps from the intro; metallic, aerial, funky, Wilsonian, a fusion of genres with the pervasive bass printing the rhythm and the digression. Reminiscent of RED HOT CHILI PEPPERS, ENCHANT, YES from the 80s, yes, weigh yourself on the chorus halfway through, it's varied enough not to sound too much like a specific group. The catchy jazzy-groovy break with the guitar lit up on the vibrant, progressive finale smelling of the endings of Steven WILSON's own songs. "Green Eyes" acoustic guitar intro, warm vocals very well sung, the problem with this group which doesn't seem French in fact; if they had sung in French, what would have been my reaction? It's beautiful, clean. A melancholic crescendic structure on a background of classical orchestration. The break arrives, ambient, latent, soft and delicate, marshmallow keyboards, the bass forward, the melody proven, melting. The break takes the time, the time when progressive rock could afford it, this time which allows the execution of a magnificent guitar solo in extension, without great artifice but with sensitivity; The slap.

"Reality of Dreams" opens airily, crystalline, acoustically, yet another one. Two minutes of wandering before the whispered vocals à la SADE?yes, there's a touch of South American, erotic-progressive in it. METHENY's touch leaps out at me, the melody unfolds like a blossoming daisy. The finale takes its time to continue surprising the listener with its fresh, bucolic sounds. "Never Again" bursts forth, incisive industrial prog metal, carved by Dominique and David's furious guitars; a detour into the typical world of PORCUPINE TREE with its exploration, its latency, its dark side. The opening is reminiscent of 80s RUSH with its aggressively controlled rhythm; the vocals, halfway through, Frenchified, chopped up, almost narrated, returning to jazzy-soft, Crimsonian territories with the binary use of the guitar. A finale with a final, frenzied solo, the Wilsonian rhythm returns, modern and creative, excellent. "Silent Place" offers a touch of eclecticism, with TOTO and SADE in the distance, a diffuse Joe JACKSON-esque chord, a hint of FLOYD on "Animals" and METHENY on the guitar. An airy, melodic musical patchwork, the vocals warm, inviting, and ethereal; the final aria between "Et la Croisière S'amuse" and the burning riff of ENCHANT, I persist. The orchestration sits side by side with a final guitar solo on the heavy riff.

Note two radio edits of "Earth Song" and "End Of The Anger" to attract the average listener in need of tracks? A choice, the prog will go for the original title just for its polished intros.

PRYZME releases the album of the month; a fine, delicate sound, evident technicality without overdoing the demonstrative solos; the latency of sounds to make you dream in the complex and emotional progressive world at the same time smelling of TOTO, PORCUPINE TREE, YES and ENCHANT. (4.5)

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