SEAWATER

"Let's Take a Walk" with Troy working on Nightwish, a latent, very serious Celtic folk intro. Bryan's deep vocals arrive late; it starts with a metronomic melodic piece, the imposing bass bringing out the Floydian acoustic break. Hammond and the female choir in the background. A bagpipe solo before the melodic finale and the captivating guitar. "Remember All The Rain" with Olivia, the voice of the group; a ballad between dreamlike and atmospheric with the joyful solo and these typical pipes of Troy, the Irish, Scottish air, eyeing Iona and McKennitt, two very folk titles. "Be Something" Bryan and Olivia in duet on an acoustic nursery rhyme where the influence of Pink Floyd is strong; the rise is agreed before the eternal solo. "When We Ran" for the solemn piano opening with the gripping vocal, suddenly the synth reverberates on a Jean-Michel Jarre sound before the electro-dance rhythm, a height. Slow, calm rise veering towards ambient country folk. The finale is worth it for the vocal duet and the endless guitar solo, what else in the end? "If Only for a Day" with the piano and Olivia a cappella on it, sensitive, fragile, her voice quickly pushing into the treble, vibrating in the fans' hairs. A slow, heart-wrenching, captivating rise with the programmed explosion; the title to listen to in concert to verify the quality of this violent crescendo. Gilmourian guitar solo with its dose of "frying nuggets" notes bringing us back to the ideal temperature, and devastating solo. "When Nations Collide" Olivia on the Floydian acoustic "Wish You"; melancholic melody of great beauty, consensual. Solo and choir in the distance with the melting organ.

"My Home" with the echo of the first track in my ears, to the point where I thought it was a radio edit. "Mars" for the solemn ascent to Olympus with the organ; Waters-esque vocals with Olivia saving this track with this crescendo and the Dantesque solo. "Future Is a Child" opens acoustically, flirting with the latest Anathema, a typical latent monotonous air, again with a Wallian flavor. The chorus explodes on a repetitive tune. Angela's beautiful flute solo followed by Josh's furious one. "Seawater" ends the album with the epic prog title; a consensual melodic progression with a stormy break at the 5-minute mark; the tone becomes religious, cinematic, a disturbing siren, prog latency leading to the metronomic decline filled with naiads in the distance. Olivia returns, delivers her verses, and tries her hand at phrasing; Iain's divine, fat break; the whole band has been together for 20 years except for the drummer, demonstrating great cohesion. Another gust of wind and acoustics for the bucolic, elegiac, contemplative, neoclassical finale. Simple but grandiose, with a delicate, rustic outro.

Mostly Autumn releases this new album in a predictable but very well-crafted style. There's little new in this under-appreciated band, which reworks the clichés of Gilmour's solos. A shorter album would have been better received due to a certain amount of repetition. (3.75) Origine on progcensor.

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