Together with fellow Quebecers Mystery, Red Sand has carved out quite an extended and illustrious career, releasing stellar albums regularly, firmly entrenched in the quality Neo-Prog genre. Having seen them in concert certainly heightened my interest, as all the musicians are first rate players, technicians and passionate souls. Simon Caron is a most gifted multi-instrumentalist, Perry Angelillo is with JS Goyette of Mystery, two of the finest drummers in Québec, while singer Michel Renaud can sing and entertain with the very best of them. Their previous album “The Sound of Silence” was a particularly astounding effort, garnishing a fair number of cracking reviews, though I must state for the record that their entire 13 release discography is worthy of any collection. Six entrancing tracks that are focused on the greatest tragedy of the human condition, where the greedy desire for brutal conquest, the need for endless conflict and millions of innocent victims converge on blood drenched battlefields.
The stirring opening notes of “Stories of Liars” sets the overall unfortunate mood right from the onset, a solemn intro that suddenly charges through with a blistering assault on the senses, the bass rummaging in the trenches, the drums behaving like a merciless artillery barrage, a churning organ that crushes any resistance and a rapier-like guitar that offers no clemency. The anger is worn on the bloodied sleeves of those who are chosen to die, for some farfetched promise of glory. Michel Renaud seizes control of the microphone on “I’ll Be Alone”, a Floydian interpretation of solitude and despair, Caron’s bass lurking menacingly in the shadows, while his guitar work is both intuitive and disturbing. Perry punitive drum work is a sonic fireworks display, detonations galore and confirms his indisputable talent.
The first of two substantial epics underline the counterattack, settling into extensive atmospheres where the full array of musical discourse can be developed without the slightest hint of surrender.
“The Ballad of Edgar and Chelsea” is a hair off a dozen minutes, an engaging groove that wanders like the morning mist over a combat zone. The sepulchral organ oozes a tinge of desperate melancholia, a whiter shade of pale anguish that eventually broadens into a wider symphonic motif, the slapping bass a moment of glory. The meaningless chest of glittering medals can only blind the spirit as the forlorn guitar phrasings, and Renaud’s plea both yearn not to fall on deaf ears, or even worse, forgetfulness.
The boisterous 20-minute title track certainly hits home with me, as a direct bi-product of bloody conflict, the 1956 Hungarian Revolution forced my parents and I as a baby to flee at the risk of immediate execution, coming to Canada. A life changing experience that cannot be fully expressed. Ever since, my interest has always focused on the absurdity of war, the misery and the fear it spawns on the guiltless and the ultimate waste of so many meritorious lives. Well here the band offers the alternative to punishment and war, a world filled with love and joy, ‘a perfect earth and endless symphony’ and desperate for salvation and harmony. Needless to say, it’s a doggedly laborious process, never quite able to learn from the yesterday’s destructive blunders, perhaps one fine day it will come to pass. The thought instigating track has an undeniable serrated edge, an insurrectional quality that denounces violence, and demanding acceptance. With such a massive frontline to consider, the instrumental variations literally encompass a wide diversity of moods and tonalities, from abject reflection to urgent screams for resolution. As such, the band blurs the line between neo and symphonic prog, an overlong story that needs to be told once and for all, lest we fall further into the disease of the 21st century: apathy. Caron’s phosphorescent guitar illuminates the possible road ahead, with Michel sermonizing the disbelievers with unbridled conviction. Angelillo knows not only when to knock and bash but also when silence must become golden. As the magnificent final cry reaches its threshold of emotion, the symphonics kick in with choir and mellotrons in the background. Piano and acoustic guitar lay down the terms for a full cessation of hostilities. Enough already.
The serenity reveals itself on “A World of Change” , proving the need to stop endlessly lecturing on the problems (negativity sells online) as if looking for comfortable consensuses. We know what the problems are but too ill-willed (or lacking critical thinking) to find the time for solutions. Resolution instead of revolution. Determination instead of depression. Love instead of hate. Positive action in lieu of negative indifference. As a student of history, war achieves nothing. If everyone stopped attacking there would be no need to defend.
“Torpille” is the French word for torpedo but is also a solitary and nocturnal ray, a flat fish that can defend itself with a non-lethal electric charge. I prefer this version that anything related to missile carrying nuclear submarines. The mostly instrumental outcry conveys all the angst that we all currently face on a daily basis.
Another stupendous effort from this veteran band. Check it out, no one will invade your privacy.
4.5 armistices