T2
It'll All Work Out in Boomland

THE REVIEW

Very few people seem to know T2. Probably, if you asked Keith Cross and Peter Dunton to talk about it, even they wouldn't remember. The enigmas don't end here: what does the name T2 stand for, if it was a trio? What is the meaning of the cover of "It'll All Work Out In Boomland"? What does "It'll All Work Out In Boomland" mean? And above all, where is Boomland?

These are all questions we leave to the compilers. We are less formal and play the record without caring too much. Right away, we realize this is not just any band: "In Circles" immediately kicks off with a powerful rhythm and a heavy guitar, between accelerations, slowdowns, supersonic cadences, and solos of rare power, amongst which Dunton's voice emerges to follow the course of the music, up to graceful vocalizations. Too little baroque to be prog, too varied to be just psych.

After the energy comes relaxation, and "J.L.T." takes us "underwater" with a delicate, at times surreal harmonic progression, leading to a wonderful final melody, both triumphant and melancholic in flavor. Another change of pace, and "No More White Horses" opens with a very hard metal progression, then lingers without too many outbursts, but always with great energy (even a piano makes an appearance!).

So far, everything is already remarkable, and you might already think of it as a masterpiece. But the best comes only on side B with "Morning", a 21-minute suite, starting with a subdued guitar riff, which, after a few whispered verses, unfolds into unpredictable progressions and solos, now brushing emotional peaks, now reaching extraordinary power highs, with tempo changes typical of a prog suite (there's even a waltz tempo!) and a resounding finale.

Oh, I forgot to mention that halfway through the suite, there's even an atonal space fluttering, a la "Interstellar Overdrive". If you hadn't already declared it a masterpiece, you have no excuses now.