“Rage In Eden” often takes on the density of a religious chant, stripped of arches and columns, light and incense scents.
The light that filters through is that of day, at any hour, but never with a direct beam of sunlight.
The filter is the gray color of glass.
The physical place is the cold stone of the cemetery.
The four musicians choose fierce moments to chew on despair.
Their skill is as icy as the memory of Lennon or Marilyn's death (“I Remember - Death In The Afternoon”).
And everything is systematically filtered through the cold use of keyboards and electronic percussion.
There is more meditation and less improvisation; the album's recording took three months.
Billy Currie increasingly feels his classical influences, between Tchaikovsky and Béla Bartók, and the warmth of his viola.
(cit. P. De Bernardin)
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