CHAPTER TWO: OLYMPUS MONS

1. Grand Prix for the GENESIS Charisma-esque opening, methodical and nostalgic; the guitar solo will need to be stronger to really break away from their own sound and the solemn, haughty finale. 2. Bacchus Up for its Gabriel-esque flute, the vocals plunging into the universe of the Genesis triptych; the guitar is less plaintive, otherwise we enter that universe of 50 years ago, which I adored in its time; today, I want to listen to one of the first four again. A beautiful rhyme indeed. 3. The Celebrated Axeman: ambient synth, good, Hackett-esque guitar, mimicry, after a beautiful, consensual melodic suite that brings nothing new to the genre.

4. Debacle in the Retirement Home, Part 1 arrives with the first of the three tracks in this triptych; the sound flirts with THE WATCH through the vocals. The bass is powerful, the keyboards are fickle, 5. Debacle in the Retirement Home, Part 2 follows without any segue, in short; the acoustic guitar is distinctive, the vocals warm, the atmosphere pastoral, the arpeggio gently unfolds without any jolts 6. Debacle in the Retirement Home, Part 3 with the continuation here, the flute embellishing the last part; well, the title reminds me too much of... GENESIS, look it up a bit, but it's still easy, only the more incisive guitar can make you think a little longer; the tambourines participate in the debacle, easy, in a well-controlled musical momentum; the more it is to make you dream, the less it is to use the clichés to the acceptable limit and then we cross the line; The finale won't have that drop of new prog blood, very black, dried, and lifeless, but that some early prog fans will try to revive by cutting off their little finger and adding a few drops, misery.

7. Safe as Sofas begins the final phase of this generalized triptych; focus on the vocals and arpeggios for the atmosphere of 'Supper's Ready' with the whole nostalgic and regressive clique of the sound of yesteryear. 8. Theophilia and Theophobia ... as much as I enjoy talking about connections, reminiscences, this track is so copied from a GENESIS track that I'll refrain, enough is enough; Gerard wants to stick to his favorite band, yes, the evidence is there, but diving into it with so much similarity becomes harmful for me, making me want to compare with the original, which breaks the listening atmosphere... 9. All the Way to Cedar Life... continues the copy/paste on the opening to the point that I give it a good point, it's really well sampled, well covered and in two key moments with the original band. 10. The Collapse of the Firewall... Sic with this ersatz of ..... by GENESIS, in an uptempo mode and a rounder keyboard for a change; but otherwise why would you want to regress like that? Well, the keyboard solo is worth the detour and finally shows a side of what Gerard can play. 11. The Liberated Labyrinth as a liberating finale for THE track that resembles THE BOOK OF REVELATIONS, and that's truly a revelation: using the material of the time and composing, as THE WATCH does so well, compositions bathed in atmosphere without reproducing it, a successful first attempt... at the last minute.

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