A debut album from the dynamic French duo of multi-instrumentalist Cyrille Delvallez and lead vocalist Claire Sergue, well supported by 2 guest bassists and 2 guest guitarists, proposing a heady mix of progrock, trip-hop and electronics, metal shavings, cinema and a personal modern touch that seeks out originality. This group from lovely Orleans has the vision, the chops, and the overt desire to take this project as far as it can, a quest that would make Joan of Arc proud (she was known in French history as the virgin of Orleans). Combining a musical contrast of profound melancholia and occasional thunderbolts of glittering passion that often typifies the classic French theatrical Prog slant, most especially vocally, the eventual success can only be around the next bend, as long as they stay strong and refine their craft with future releases.
There is a preponderance of new bands that feel more comfortable stretching the parameters of prog (thus making it progress) by incorporating elements such drama, attitude, atmosphere, and melody within a structured foundation where no one does it better that prog, mixing adventurous symphonics with muscular rhythm in an unpredictable manner. To these untiring ears, it seems that the bass or the piano are often the barometers of where the arrangement wishes to venture, sometimes hidden, often overtly the opposite, perfectly depicted on the bopping opener “A Friend For Bad Times”, a soaring collision between the icy riffs and the fiery voice. Steel and agony. Bon appetit (poetry again).
The initially vaporous “Hopes and Dreams” sets the course with velvety ivories and a murmured vocal that hatches into shape, very much slow burn in its delivery, as Claire raises the pitch ever so adroitly, a lament that hits the mark, emotionally. The agonizing finale wades in poignancy.
A trio of slightly longer, more developed pieces come up to seize the day, starting with the shimmering “What I have Left”, as it veers from one sonic expanse to another, fierce and lenient passages coexist as long as each keeps its space, as the mood is ratcheted up convincingly. Piano frolic and electric guitar shudder only add to the relaunching of the finale, flush with despair and surrender. Claire can sing, climbing an octave when needed, seemingly at will. Nice Zeppelin two-note ending.
Now we arrive at one of my favourite tracks, the sensational “Life Explorer”, a lumbering orchestral soundtrack with a simple but effective beat, over which Claire warbles with supreme confidence. The sorrowful piano hits you in the gut, despondency aptly expressed, the orchestral aura adding to the suspense, absolute splendour. The second part tosses in some chugging guitar riffs, solidifying the mood even further and a few clever shifts into overdrive just to make sure it hurts.
The neatly crafted “The Universe Responds” perhaps best incorporates the more progressive side of the band, as immediacy is here replaced with ponderance and thought, the focus being on the mood and spirit and not on the flesh. This dream state is shocked into a different vector with a modern contrast that ultimately is just a higher level of contemplation. Very pleasant on its own but could have been a monster piece with just a little more enhancement instrumentally.
As good as that trio was, the final stretch has four tracks that stamp this album with the earlier praise of being a band to watch out for. “Too Late” is an astonishing piece where the spotlight is focused on an obstinate clanging guitar that breeds obsession, intensified by extensive orchestral shadings, both combining to create a sense of impending doom. The wailing voice is the proverbial ‘cerise sur le gateau’ as it reaches unexpected elevations of release. Stunning.
“Thrill Ride” is the ideal segue, a slick electricity that envelops the mind and a sublime voice that gratifies the soul, a concrete pace providing the necessary guidance. Honestly, this could be a prog ‘hit’, powerfully catchy, indelibly passionate, and utterly charming. The string section finale is sheer applause. Check out the embedded video. Enough said.
The delightfully contrarian “Rain to Light Up the Sun” sits at the piano bench as Cyrille’s fingers gently caress the board, the sliver of light on the imploring voice beckoning a ravaging guitar barrage, the three bolstered by the solemn drum beat. The searing guitar solo from guest Alex Soubry guiding this marvel into the celestial heavens.
The album closes on a very lofty note, the gorgeous “Through the Storm…”, perhaps best described as the perfect concentration of what Pledge of Healing can and does offer the discriminating listener. Intensely overpowering emotionally, here coming close to Anathema territory, as the thrusting guitars are up front and center, on each side of Claire’s magical voice. An upward spiralling vortex of healing, that is their pledge!
The last seven tracks are out and out excellent. I can only suggest fans to encourage this most promising artist.
4 Nearby goals
