A heartfelt thank you to Anne-Claire of Bad Dog Promotions for this welcome third release from this hitherto unknown to me artist from Nice, a singer/songwriter /guitarist who has surrounded himself by some local friends, such as Alexandre Lamia who resumé reads favourably with stints with Frantic and Nine Skies. Also on board are Alexis Bietti on bass and guitarist Xavier Boscher (whose solo albums are the definition of adventure) and guitarist Patrice Ricolvi on one track as well as a trio of vocalists. A personal and thus wide-spanning affair that incorporates a variety of styles from Celtic tinges, prog rock, folk and soundtrack scores, the delivery is overtly heartfelt with a warm and demonstrative voice that leaves a solid impression.
There are standout proggy tracks like the Gallic “Greetings from Slumberland” that winks at Oldfield and Iona stylistics, a shimmering mostly instrumental opener that exudes those harrowing notes that made the Celts such a musical powerhouse. It’s a luminous expression that really sets the mood. “Revealing Walls” has a delightful orchestral motif and occasionally shrouded vocal lines , a moody piano skeleton and some hushing moments that truly raise the bar quite high. The title track also spreads over 8 minutes and 22 seconds, a dreamy expanse that puts the piano into the main spotlight, slowly adding subtle detail to the impeccable melody. Erewan’s voice has distant hints of Roger Hodgson’s expressive delivery, as he details the unfolding story with aplomb, backed by Lamia, Alan Roberts and Dothy once again on harmony vocals. Definitely a highlight track with grandiose moments that give substance to the arrangement, such as narration mid-section that adds another dimension. The Celtic-tinged outro revs up the engine, providing wings to the pace, a great initiative.
Straight forward and harder edged pieces are also on the menu, such as the Xavier Boscher-led rocker “Fantasy Worlds”, a rambling piece that has uncredited programmed drums, brash guitars riffing like a turbo-charged engine and accented English vocals that are aimed at entertainment and immediacy and, as such succeed on that level. “High Fever” erupts eventually into the meaning of the title, starting off gently bluesy before the crunchy guitars (Patrice Ricolvi) fervently raise the temperature to vertiginous levels, including a fiery solo. “Reaching You“ combines rasping guitars and Celtic flutes, reedy English vocals within a rather classic rock structure that suggest focus as opposed to the fantasy. There is a spiritual mid-section where voice and flute meander in harmony, a clever insertion that only serves to launch into a splendid final variation that permits the glorious lead guitar to shine. I guess ‘it was the only way to reach you’!
There are also softer pieces such as “Still Sleeping” where both Erewan and Dothy Lorenzetti share a vocal duet in a mellow yet pulsating folk leaning. It also features a lovely wah-wah pedal injected lead guitar solo that does the trick. The velvet balladry of “Salvador’s Window” evokes romantic memories ‘of a woman standing at the window’, a curling guitar line exuding all the needed emotion, simple and bright. Bucolic and pastoral, “Blackening Sky” is an acoustic promenade with delicate choir background and a massive melody that illuminates the proceedings, perhaps my favourite track here, as it evokes a wide variety of autumn imagery, melancholic gloom and the onset of winter ‘s cold embrace. A folky little jewel that has tons of texture and mood, even the heartfelt vocal reigns supreme. Segueing nicely is “There’s A Way”, a tender ballad, just keeps the atmosphere moving along with an imposing orchestral backdrop, and featuring Alexandre Lamia’s luminous electric axe foray, all sustained notes that hit the mark. Chris York handles the vocal spot with persuasion. “Ain’t a Farewell” features sparkling acoustic guitar on an ornate melodic cycle that is to die for, all fragile beauty and spiritual bliss, Lamia peeling off a stunning fretboard sequence that has overt Gaelic tinges, another winning track.
I personally preferred the proggier and pastoral /softer tracks over the harder-edged material, but perhaps it was due to the snow falling outside and the rather cozy feel of a warm window looking outside as I was typing and listening. As is often the case with international prog, the accented English lyrics and vocals may constitute a hurdle for some of the purists out there, perhaps singing in French (which is a beautiful language harmonically) would be an easier path. It’s the prerogative of the artist. Also of note, the grainy cover art is quite detailed, if one takes time to look at it closely.
4 heart locks