Still going strong after all these years, especially in lieu of the fact that the preceding release was a smash by all accounts , as “In Spiral” (2022) was quite inspired and spirited, to say the least. Jean-Pascal Boffo is a veteran multi-instrumentalist , though it’s his guitar skills that have stood the test of time, and this new one marks 40 years of a rather stellar career. Ably abetted by drummers Wiliam Bur and Franck Agulhon, synth player Séraphin Palmeri , saxophonist Pierre Coq Amann and Thomas Seignert handling bass duties. “ Inner World” owns a striking cover, expressing the need for introspection in an increasing manic world laden with data overkill/fatigue. Perhaps a willing passage into one’s childhood may be the ultimate refuge. We shall certainly find out where the music will take us, through a dozen lush tracks.
The introspective voyage begins with the intricately nebulous “Neverwhere” , a yearningly romantic groove into an ethereal world where Boffo’s electric guitars dare to wander, combining slick riffs and splashy chords with sensual slivers of melodic lines, leaving the saxophone to further the seduction. The sparse finale is astonishing. “Desert Life” keeps the arid dunes aglow with sandy reminiscences, as if a caravanserai of purity was crossing the Sahara, in search of the little prince. The swirling sax casts the necessary spell, entrancing and mystifying as it fades into the sweltering horizon. Taking the hypnotic sentiment even further, albeit in a more modern approach, not far removed from ‘Impossible Guitars’-era Phil Manzanera, “Mantra” coils magically like an obedient cobra, the saxophone again taking the spotlight, with superb rhythmic support from Seignert and the drum kit. Underneath the swirl, the fretboard exercises immense creative euphoria , without being overtly splashy, a true sign of class. The trio of tracks all have this unique soft outro that is most immediately noticeable.
The drum work gets intricate on “Anything Can Happen Here”, pushed along by athletic guitar cycles that recall his previous use of a technique made famous by Robert Fripp and Andy Summers among others, while “From the Moon to the Earth” patrols more cosmic expanses, ambient floating obelisks of sound that gleam in the dark void, at times somber reminders that lifeless orbiting satellites can be devoid of anything but endless memories.
The obscure ambience of “Parallel World” proves the point that opposites can nevertheless remain very close, often just a threshold to cross over into the proverbial other side. A tremendous example of sonic restraint, where less is more, and still utterly convincing. Boffo displays these traits with a light touch that is applause worthy. There may be peace to be found in the end, in some concealed Shangri-La within one’s soul. Speaking of Everest, “Elevation” cannot get any higher on our planet, and here, the focus is on a cinematic exploration of the inner self, thinking freely in rarified air, devoid of any spiritual pollution, pondering the truth on “The Expanse” as it lays serenely below us, amid the clouds.
As if tele-transported to an opposite realm where mechanical thought reigns supreme, “Robotown” is an electronic fantasy that speaks volumes of where humanity now stands, a world where send/receive, edit/delete and like/follow rule our agenda-heavy time. The concrete sequencer arrangement is led by muscular tik-tok percussion, and occasional wafts of oblique guitar shards that provide some semblance of humanity. This comes shining through on the more luxuriant “Ubiquity” where Boffo’s organic axe gets to surf atop the synthesized bubble bath platform created by Palmeri’s arsenal. To quote some pointy-eared Vulcan mister, ‘Fascinating!’.
A penultimate longer track clocking in at 6 minutes and change, “A Dream within a Dream” perfectly encapsulates the essence of this album’s concept, as it liberates the artist to express his innermost feelings, without any constraint forced upon him. The fluid guitar lines unite with the expressive sax urges, all rhythmically ensconced in a light passageway that soothes the soul, the melodies beyond attractive, perhaps even meditative.
The rather gorgeous “Farewell” is a scary closing title, as it may infer a sense of finality, which would be a disappointment. Boffo can and should definitely continue on the path chosen with “In Spiral”, as his last two albums are the cream of his crop, in my humblest of opinions. A level of maturity that bodes well for the future. A bientot !
4.5 innermost sanctums