I've said it before, and I'll say it again, this double album is one of the best Jamendo has to offer

Pour ceux qui aiment l'électro vintage, juste pour les sons (quoique ce sont un peu toujours les mêmes), pour juste un peu de mélodies (enfin, quand il y en a) et d'ambiance, c'est parfait. sinon que c'est vraiment un album long... Il faudrait un peu rénover tout cela, élargir ses limites et introduire plus de ruptures entres les titres. Les rythmique et les constructions mériteraient d'être plus systématiques. Prelude (Still Falling) : Quand une intro égale une idée, c'est bien, sinon, c'est une intro... Better Not Spoken Of : Des nappes et des bips, ça marche très bien mais le travail sera très à la charge de l'auditeur. Search Light : C'est mieux encore, avec des sons plus riches qui se répondent de façon plus évidente. Pour quelque chose d'assez classique. Number the Stars : C'est agréable mais ces sons un peu propres paraissent un peu datés et puis ce sont les mêmes. On s'endort un peu sur la fin. The Unfinished Dream : C'est plus irradiant et on se laisse bercer. Skeletons to Hide : Très bonne rythmique (j'aurais aimé en avoir avant) et ces sonorités rugueuses et vaporeuses (pensez aux débuts de l'aviation :) Miles Between Us : C'est beau, il faut un peu de patiente. The Heart is the Most Dangerous Weapon I Have Against You : C'est un excellent titre. Deeper Inside Me : Il manque un peu de tout, un peu de mélodie, de sons, de construction... To Hell : C'est intéressant mais trop de longueurs, épilogue compris. Driftwood : C'est un peu sinistre même s'il y a quelques aspects intéressants. Now I Am Waking : Idem. A Dreamless Night (Please Don't Go) : Voilà qui est plus enlevé, une fin impressionnante. The Chameleon : Dans le prolongement. The Final Conflict of Interest : C'est surtout long.

umhhhh nice sound

Doing this in a linear fashion works for me, as there is no ending. That's part of the point I try to make, as in: there is no ending, but how do we get there? So the Prelude (Still Falling) flows on perfectly well for me, although I can see it working obversely as well. Better Not Spoken Of speaks volumes for me, another rich picture and quite a dark one, it's like unrequited love being harder to bear that actualised love between two people. Personally, I am spiritually polygamous and believe in having, or at least the capacity to have, more than one soul mate, 'mate' being loosely termed and not necessarily in the animalistic sense. That in itself makes life quite difficult at times and my defence mechanism is to shut down emotionally. Nothing new to many people I shouldn't wonder, at least from what I've seen and experienced in terms of relationships and there is a strong sense of emotionality inherent in these two consecutive albums. Search Light represents a quest to understand and shed illumination on the inside and the outside. Number the Stars reminds me of how a human would endeavour to catalogue what was previously believed to be the very eyes of God in his omnipresience. Always watching us, as we once always watched those peepers watching us. There's your chicken and your egg, and I'll let you decide in your own fashion. For myself there is no answer to that, nor the all-pervasive dark matter. It will forever elude our grasp of comprehension but that's the answer in itself, there is nothing ultimately but a paradox. And so it follows on as a paradox, The Unfinished Dream, and all mine are and will remain forever so. That I feel is the very essence of our existence and sense of being part of some grand machination. We have just got to get on with things the best we can and the answer to everything may as well be 42, if I remember the Hitch-Hikers Guide rightly, which is doubtful. My personal philosophy and mythology are constantly in a state of flux, as is my mind in all its levels of consciousness. There are depths to myself that I have not even transgressed as yet, maybe never will in my physical lifetime, maybe in another. Wheels within wheels, in a spiral array, a pattern so grand and complex. (Again I'm paraphrasing Rush, an old favourite in their earlier years). But what about the music? It's great because it is inspiring me to write like a man possessed and that is the magical element that I seek but am willing to not have to dissect and 'understand'. Skeletons to Hide is an interesting track, musically I love it and it fits into my cosmology, there are always aspects of a persons inner self that are sometime best left untouched and left for another day, even another lifetime if that is our course through the universe as it expands forever. The harder you chase for the answer the further it moves away, scientists and empiricists being a prime example, creating layers of 'understanding' and 'comprehension' that do nothing but distance us from our very selves. Miles Between Us again follows on from my point in this musical array, itself grand and complex. Each human is literally miles apart from each other in so many ways, like you can be lonely while surrounded by people and it also works with us as in ourselves, we grow more distant from ourselves the more we endeavour to scrutinise our own sense of existence. Like 'philosophy' is the art of thinking about thinking, and we are back with the chicken and the egg. Then we drift into the next track, The Heart is the Most Dangerous Weapon I Have Against You and my words are expressed directly from there, that's why you are getting me experiencing the music rather than complaining that there is a note out of place. I listen and I feel, if that is wrong I can only apologise for boring the pants off you and making you wonder why I find it so difficult to not shut up, a voice sample that literally haunts me. The most dangerous weapon I have against myself is my overactive, imaginative brain/mind/consciousness. I am pretty harmless at the end of the day. Again, to refer to the music, it's quite simple in practice but I find it hellishly evocative if not provocative. That's the way I like my music, with feeling, with inspiration. From the heart, Deeper Inside Me, the track is a plumbing of the depths of the psyche, towards the very soul perhaps, and that can lead to many places by many paths. As it happens, on this occasion it is To Hell. A place of many varied interpretations and believe systems differ though the general feeling is that, if it's not the very earth we walk upon now, the direction is down and it is not generally pleasant. Whether it be real or a perception of a state of being. The upside is that there is a return, and hopefully a spiracular circle of learning has been achieved in (And Back). The music sounds cautiously positive, even if only from the fact that the trip downwards has been survived. Driftwood changes the whole atmosphere at first, and relates for me a sense of being cast haphazardly on the coastline of a new beginning. The music is more positive than the previous few tracks, leading the listener perhaps to a sense that there is light at the end of the tunnel. There is hope, there has to be. A gentle, ambient piece of creativity. Perhaps even a contemplation of self-worth. This is borne out by the following piece, Now I Am Waking. A phoenix like transition of existence, reborn from the flames, in a new, slightly wiser form of being. A Dreamless Night connotes that the subconscious and unconscious levels of our psyche are not sorting themselves out and that the previous day hangs around our aura still, it not having been cleared by the efficacy of dreaming as a psychological/spiritual tool of repair. The furtherance of the title being (Please Don't Go) again emphasises that the situation, in whatever form it takes, has not been resolved. There seems to be a pre-emptive sense of finality, beyond a point of no return. It flows into The Chameleon, and symbolically that suggests to me, alongside the flow of the music, that there has been a level of acceptance that things are the way they are and the only way of surviving is to blend, like the music, into the procession of events as they unfold and develop. In a very literal sense, the track itself seems to blend in almost unnoticeably, if only because it's roughly half the length of most of the other tracks perhaps, but I feel also in a musical sense. Which leaves us at the beginning which is perceived as The Final Conflict of Interest, the very thing which started the cyclical, spiral movement of life, where each revolution of experience adds a bit more data, which begets information, which begets knowledge, which begets wisdom. So that, the next time I listen and live it will be slightly better than the last time round, a slightly different route of life from which we can develop and grow into decent conscientious individuals. And so the two volumes of work like a kind of dyptych, two aural paintings meant to reflect meaningfully upon one another as a couplet, complimentary, comparable, a greater whole. But as usual, I've gone on a lot longer than intended to say something pretty simple. The dream never finishes, its the content that matters. It's purely subjective about how we get there and what we feel we've achieved, and what we see as a finality, is just the beginning of a new cycle. On an emotional level that may mean with or without a certain person or persons, a style of life, a drug, your PC, but essentially a new beginning.