Anthony Phillips
Slow Dance

Probably "Slow Dance" is the most "fascinating" thing I have ever heard, a suite of rare beauty that at times can evoke intense emotions!
This work by Ant Phillips (the very first guitarist of Genesis) dates back to 1990 and consists of two tracks, where classic elements clash with Ant's synthesized electronics.
I must say that you would need the expertise of a classical musician to review it, in fact, it was recorded with the support of a classical quintet (oboe, flute, clarinet, strings, trumpet) while all the electronic parts are entrusted to our Ant, who also takes care of the guitar and bass parts.
The encounter between electronics and classical musicians gives the first track a mix of balance with a quite original and epic flavor.
The second track, however, presents more electronics than the previous one, though along with the orchestrated ensemble that provides grandeur in the exposition of themes.
Here is my personal analysis (from a layman) of the two "suites":

Slow dance part 1
A spine-tingling introduction! A synth with a "wind" effect introduces part of the main theme, only to have Ant's guitar rewrite the real central melodic theme.
The ensemble (synth and non-synth) at 3' 15'' introduces the theme with winds that begin to give the whole thing a classic flavor; the union between the real orchestra and the synth one continues, giving way
to the harp, along with the winds and other arpeggiated string instruments; at 7' 50'' a string melody begins to give a Renaissance flavor, and it is here that I find, melodically, some similarity with some Genesis melodies.
Then at 9' 40'' a bit of "technology" begins and the sound recalls the Tangerine Dreams (with a nod to Mike Oldfield...).
At minute 12' the percussion starts with a captivating almost "tribal" rhythmic exposition and enters into the delicate scenario of the various synths. The whole assumes a "vortex" rhythm capable of increasing the listener's attention, where snatches of electric guitar appear (here Ant also used a Strato).
At 14', in an "Epic" way, the synth reintroduces the theme with the cessation of percussion and the addition of an "angelic choir," effectively turning the whole into a SWEET "lullaby" played on the synth, where an electric guitar inserts itself with short phrases; there is also a classical guitar arpeggio (I think Ant's classical Yari).
The synth here begins to take on a slightly space rock sound and at 19' 30'' the ensemble returns, orchestrated on the synth of the main theme, and at 20' 50'' TEARS ARE POSSIBLE!! (At least for those who "feel" and listen to music).
But surprisingly, the drums insert themselves along with the piano and electric guitar, seeming to close this track somewhat epilogually, "hopefully," with a happy ending.
But no!!! At 23' 22'' our Ant gives us the angelic choirs and a comical finale with the orchestra!!!

Slow dance part 2
The second track opens with a sound that again recalls the Tangerine Dreams and/or Oldfield and the blend with classical elements brings its expressiveness back into the symphonic rock realm, with the addition of percussion in a sort of military march.
Soon a gong gives way to winds that begin to expose a sober melody, accompanied by a synth carpet, only to reveal the electric bass (played by Ant) and the percussion at 4' 15''; we also have electric guitar phrases on synth chords.
At 5' 35'' the melody begins to take on a dreamy tranquility, at 6' 26'' a sound (which I can't quite understand) seems to imitate the pan flute only to give way to an orchestra ensemble that at 6' 56'' sees the triumphant entry of a TRUMPET along with the rhythmic entry of percussion and a sustained organ.
At 9' 00'' a spectral introduction closes the first "act" and a new electronic theme begins with the addition of winds and strings. Here agony is on the scene! The turmoil, let's say, the aggressive and little "dreamy" part of our Ant, where the pathos increases more and more!
At 12' 00'' distorted chords give way to the strings, then a synth pedal reappears to accompany their "laments".
At 18' 38'' serenity returns, an epic theme opens, with simulated cannon shots, then it gives way to synth strings that soothe, without ever breaking the pathos.
At 21' 16'' the main theme of track 1 is reintroduced but in a more majestic and triumphant way, almost winking at Vivaldi (excuse the heresy!!!)
Unfortunately, at about 22' 30'' "Mike Oldfield" returns and I don't understand why!!!
Percussion, bass, echoes, and effects come in, the obstinate music box and strings, winds, gong, and kaleidoscopic effects close this track in a rather unconvincing way.

This work falls into the thorny field of Ant Phillips' works, with epic echoes of his first album The Geese and The Ghost (1977) combined with the synth electronics of some of his works like 1984 (1981) and Private Parts & Pieces VII: Slow Waves, Soft Stars (1987).
Overall it is a mix between classical and modern without ever really falling into the symphonic rock realm. The mix of instruments and styles somewhat penalizes a casual listening, so to absorb it I recommend an attentive and peaceful listening without interruptions.

Compositional versatility mixed with courage and exploration of the new still gives Anthony Phillips a sure positive judgment!