I just love musicians who innocently claim astonishment at being recognized as a prog artist/band, thinking that they are more ‘mainstream’, and therefore not comprehending that the paramount attribute of progressive music is to make you travel to another space. Bands like Supertramp, Pink Floyd, Alan Parsons Project, Roxy Music, Kate Bush, Peter Gabriel and others of similar reputation are not always viewed with complete genre accreditations, even though they are able to transcend borders by infusing that ‘dream’ quality to their craft. Proof is in the Crème Brulé, as the 12 tracks are sandwiched between “Alone” parts one and two. Just like your prototypical prog album! The line-up features vocalist Noura, keyboardist Frédéric Lamirault and guitarist David Parraudin, with bass duties handled by Loic Colin and the drum stool manned by Sylvain Cottet.
The languorous title track has the honours of establishing the first full-on song, with fluid piano and voluptuous lead guitar developing the melodic arrangement, eventually introducing the lovely voice of Noura, within a Floydian expanse as exemplified by the low-key rhythmic pulse. It’s a salutary entrance into what will be surely a positive listening experience. A tad more modern pungency is delivered on “Hopes and Fears”, a resolute tempo from the get-go, what with the muscular drumming that pushes along the terrific melody, easily accessible and attractive. The e-piano, synths and guitar interweave like later-day Roxy Music, a hushed seduction from the pulmonary talent as the intensity elevates into an impactful chorus that needs no scrutiny. The smoother mid-section last only a few seconds, so as to reboot the urgency. Very tasty.
Slight change of course, “D.N.A” is more of a conventional rock song with a simple structure, no shilly-shallying or overblow acrobatics. A less interesting track, in my humble opinion, but the only one. A bluesy ballad led by a sorrowful piano, “Whispers of Chance” has Noura singing her vacillating plight, gradually climbing the scales, utterly convincing in the process. No other instrument was used, and its stunning!
The quality core of this debut is to be found here, with a trio of pieces that could easily have been a suite of some repute. The Rick Davies school of e-piano technique leaps out of the speakers, redolent slashes of echoing reverberations, the beat steady and purposeful, a masterfully nostalgic chorus , Noura’s oozing voice pleading, dazed and confused, “Have You Heard” has a sense of Gallic tragedy that is intoxicating in poignancy. “Pulses” keeps the melodramatics in play, a hypnotic guitar refrain that seeps deep into the nodes, Noura channelling her inner Beth Gibbons (Portishead), the beat mercilessly forging the road ahead. The overarching vocal is brilliantly delivered. The foot does not leave the pedal on “Humans”, the devastating piano constructing the framework for another colossal strain, at times vacillating between hope and despair, a punctuating choir added for effect. When Noura yells her pain, and then has the power to wail, its goosebump time!
“We’ll Never Dies” is an odd one, switching back and forth from predictable ho-hum verses to devastating choruses, where the singer soars like a falcon in the skies above. The kind of track that is ideal in a live setting, as it has an immediate rousing quality. The lengthiest track is the nearly 7 minute “Sacred Laws”, and its arguably the most progressive one, tabled with a solid build-up, a firm legged pace, dressed up with delicate synth motifs, and seasoned guitar licks, all blending together to create a sense of mesmerizing hypnosis, a vocoder voice adding to the prophecy. The crafty solo and the masterful voice emit hints of a French version of Mostly Autumn, yes, boys and girls, its that good. This one seals the deal, even though if you were wondering about any Supertramp influence ever showing up more overtly , well “Crime” will easily bury that notion with devastating accuracy. A cover of the classic piece comes as a blessing in no disguise, as its close to the original, while retaining a fabulous tinge of ‘difference’. The obligatory orchestral theatrics are expertly rendered, ultimately providing this release with well-deserved ‘lettres de noblesse’, Noura wailing away with liberating abandon. Needless to say, Lamirault’s piano mastery is to be equally applauded.
“Alone Part 2” draws the velvet curtain on the recital, confirming this band as an artist to watch in the future, as they have the ingredients to make a long-term career with their brand of ‘prog’ , the musicians are talented and Noura can sing like the wind. I would strongly recommend this group to venture even further into the progressive fold, as a faithful audience will await your return with another odyssey.
4 Pilgrimages