While on the subject of one-man multi-instrumentalists, Frenchman Philippe Ogier has been a prolific and consistent artist, releasing an album on a near yearly basis since 2018, with “Elements” being his sixth offering, all displaying a wealth of superlative material anchored in the instrumental symphonic prog category. Highly talented on all the instruments at his disposal, Phog keeps delivering his craft, within the confines of his style and muse. He sprinkles his albums with epic pieces (10-to-22-minute range) as well as shorter ones (1, 2, 4 and 6 minutes when required), thus keeping the pace intriguing and adventurous. For diversity’s sake let’s us begin with tracks 2 and 8 which fall in the first category.
The playfully bright second track “New Land, New Blood” emits a very positive jazzy vibe, an aromatic groove is laid down by a highly enthusiastic bass line, as the keyboards and guitars weave the quilted melody. The theme alters its course for a more cinematographic pastoral form, flute sounds in abundance, a very Camel-like atmosphere (a trait that is noticeable through all is albums), that only serves to heighten the adventurous spirit of the arrangement. The instrumental scaffold is expertly constructed, so as to keep the tension moving ahead, led by that elastic and upfront bass guitar. Fans of Moonmadness or Rain Dances will find plenty of joy here. Tinges of medieval music are most welcome, furthering the timeless shimmer that permeates the various permutations.
With a title like “The Last Call”, we understand that there is a finality being asserted, and a grandiose ending it certainly can claim to be. The epic 12 minute + piece is an elaborate affair, infusing a magical flair, almost puerile and naïve but in a good sense, the prominent bass once again illuminating the pathway with some limber interventions, the Hackett-ish electric guitar glittering like a spectral night, bathing in the frothy organ surfs, synths coiling with delight. Refreshingly pure and seductive, the twists and turns are handled without any effort, evolving towards forever newer peaks and valleys, the slow-hand electric guitar solo is a gem of expressive restraint, slicing a melody that is reprised by a glowing synthesizer that seeks out emotion instead of technical dazzle. Again, the illustrious Dromedary comes to mind. I happen to be a huge fan of this unpretentious, overtly pleasurable soundtrack of instrumental progressive track that seeks neither fame nor fortune, just plain enjoyment.
Within the briefer pieces, the initial gloomy attraction of “Deep Wave” is a tremendous musical moment of symphonic ambient that is soothing yet mysterious, and when it blossoms into an elevated plane, the bass, guitars and drums initializing the riff, it is a successful transition. “The Lantern” has a slick flickering flame theme that finally sheds light on a quite the quirky arrangement, vivaciously innocuous, yet fuelled by a stoking bass guitar that keeps the heat on the mood.
The title track is perhaps the most hyperactive number here, a lightning quick keyboard flurry, a heckling bass rumble, jaunty piano pounding obsessively, infused with a slight Alan Parsons’ The Raven hint. Midway through, it settles into an extended platform for the guitar and the synth to solo over a whopping mellotron carpet. The agile bass reinitializes another tangent, hereby recalling the initial groove and melody.
Throw in a trio of smaller tidbits, some ambient, playful or colourful, and you wind up with an album that could easily compete for a leisurely Sunday morning relaxation period, looking through a porthole, admiring the scenery and looking forward to discovering a new land. Come sail away with Phog.
4.5 constituents
