Issue 2024-065
Apairys — Ni l'espace, ni le temps
Apairys were founded in 2014 by Benoît Campedel (guitars, bass, keyboards), and Sylvain Goillot (drums, keyboards), who got together more or less coincidentally, after the bands they previously had been part of, Saens, and Maldoror respectively, had ceased to exist. They soon were joined by Christophe Bellières on vocals and released their first album Vers la Lumière, reviewed positively on our site. Five years later it is Ni l'espace, ni le temps (Neither Space, Nor Time) turn. So much for the preamble, let's get straight into the review.
For me, to appreciate a progressive rock album, it requires, amongst others, a strong complementarity between the instruments' section and the vocals. The latter definitely deserve special mentioning with respect to this release. Unlike their predecessor, on which the vocals were assumed by Christophe Bellières only, three different vocalists share their duties on the 7 non-instrumental tracks: besides Christophe, who is present on four of the songs, and Sylvain, who sings on the final track, there is Pasqual Bouquillard, a former band member of Saens. Those three, whilst having a similar singing style but distinct voices, perfectly manage to create a poetic and romantic atmosphere for the listener, although the music itself sounds less poetic than that of some of the RPI bands, for example. Given an excellent compatibility of instruments and vocals, as it is the case here, the lyrics themselves then, usually, are of secondary importance to me. Also because, unless they are in German, I only understand them in parts or not at all. With Ni l'espace, ni le temps, things were a bit different, though. Listening to the album with the lyrics in front of me brought me even closer to the music altogether.
I grew up in Brussels learning and speaking French as a kid and a teenager and have since then kept a strong passion for that language in its spoken and especially sung form. However, understanding what the individual words mean and being able to derive a meaning from the lyrics are two different things, and the latter gave me some headache. Lyrically, this is a concept album, with the tracks not following a chronological narrative, but centring around the subject of space and time. According to the band, the lyrics have been strongly influenced by the writing of French poets (the track L'horloge is a text from Baudelaire, for instance). The band mention that there are allusions to English prog albums (and to the respective bands, I assume) on Origines (I hope my guesses were correct). I also asked myself whether the title L'élan de mains is supposed to be a play on words, as it is pronounced the same way as "Les Lendemains", meaning "The Days After", which would create a stronger connection to the subject of time. Ode au présent already establishes this connection by linking antiquity and the present in its title. However, all of this should not create the impression that knowledge of the French language is a prerequisite for appreciating this release. This also works without any of that knowledge.
This album is structured in seven longer songs with vocals, and six "interludes", meticulously and purposefully placed to provide the listeners with some breathing space and to make them come to rest each time after having been confronted with all kinds of breaks and changes of mood in the previous song. It could also be understood as a series of courses (with the most opulent one placed at the end) of a musical menu, interspersed with all kinds of appetising "amuse-gueules". To stick with this comparison: eating (i.e. listening to) everything is ambitious and challenging and leaves the listeners full of pleasant memories and impressions, without any digestive problems, and with the feeling "I have encountered this a few times before in different compositions and forms, and I liked it".
Apairys have made it clear that singing in any other language than French had never been an option right from the beginning. In terms of the emotional, sometimes theatrical, expressive, poetic, and melodious singing style, the band certainly have been influenced by Christian Décamps of French prog icons Ange, and by some of the other band putting an emphasis on French vocals, be it from France or from Québec: Mona Lisa, Carpe Diem, Atoll, Pulsar, Octobre, Visible Wind, and The Box with their album Le Horla.
Musically, having quite some 70ies influences, Apairys may exude a touch of retro-prog, but overall, they sound neither dusty nor old-fashioned. The sound is slightly on the harder edge and bears some similarities with bands such as Pendragon, and Pallas. Additionally, their music has a certain drama occasionally, is varied with some unexpected twists and turns, a good alteration of softer and harder parts and a healthy balance in the use of keyboards and guitars as the leading instrument. In this respect, Aipairys come quite close to my preferred French prog band Nemo. Despite showing a favour for some dissonant sounds here and there, Ni l'espace, ni le temps remains a melodic, accessible album with lots of catchy harmonies and melodious soloing. I could not find any weak moments on this album. L'élan de mains with its great organ roaring through my ears, reminiscent of German heavy-prog bands Jane, early Eloy, and Ramses, Ode au présent with its hymn-like singing and its complex rhythmic structures, and the epic final track Je t'attendais déjà with its subtle and timid sounding intro and its variety stand out as "Primi inter pares" for me. Worth mentioning furthermore: quite often I have come across a mixing which undervalues the rhythm section. Throughout this release, bass and especially the drums sound crisp and clear, notably on Sept, and they deserve being given that attention.
This is an album I certainly will revisit regularly, very well produced and played, accessible but still demanding and ambitious, with expressive vocals in a language which I consider as particularly suited for this kind of music. To be repeated with a successor as soon as possible, please. Put your headphones on and enjoy!
Quantum Fantay — Oneironauts
If there is one universal factor that can be common to some styles of music, it is that of being labelled too repetitive to stand out from the pack. That often applies to albums that are poorly conceived, constructed and conveyed to the listener. Those general comments were often aimed at musicians who were often not fully understood. More likely, they wrote musical works that defied traditional boundaries which the majority of people could not fully comprehend easily, having had limited exposure to that particular genre. Sadly, my experience with a large number of space rock albums also fell into this trap initially, yet, once an album's subtleties have become impregnated within one's brain, that opinion often changed dramatically, often to the point of becoming a fanboy of the style.
Quantum Fantay are one example of a band who play what they know well and compete on a transparent stage with like-minded astral travellers such as Ozric Tentacles, Gong, Hawkwind, Hydria Spacefolk and others well known within the genre. Trying to pick a winner from so many competitors within this genre is a little difficult as they each possess significant skills and differences to help sort the wheat from the chaff. One of those early adopters of space rock that I really enjoyed was with the band, Gong and with Steve Hillage utilizing his signature glissando guitar sounds on many of their albums. It was a feature that I often looked for when hearing other space rock albums. Thankfully, I often hear that style on albums by Quantum Fantay but with their latest album, I hear it far more often than I thought I would so the album scores more points for that issue alone. Do I like the sound of the glissando guitar? Does a duck with a hard-on drag weed? I do, of course, and still do to this day.
One of the instantly likeable features of this album is that it is incredibly musical inasmuch that the melodies are very infectious, frequent and only a millimeter or two below the surface so to speak. That factor alone has made it one of their more accessible albums from the half dozen or so of theirs that I own.
Is the album significantly different from any of their previous albums? Not really! Many of the songs presented here could easily have been found on any of their previous releases and vice versa. When checking out the statistics for the band on RateYourMusic, one cannot ignore the incredibly consistent ratings the band enjoys with each of their albums. When the votes are in for their newest offering, I wouldn't be surprised to witness at least the same rating or better as found on their earlier albums.
Their new album is chock-full of hypnotic and somewhat mesmerizing soundscapes that scream at you to play the album over and over again as the infectiousness does not let up for a moment. Once the hooks for each song have set in, you will quickly fall victim to the album's alluring components in a way not as easily found on their earlier albums. With 8 songs totalling a little more than 60 minutes, each song has time to develop and allows for a more inclusive level of absorption. As the man responsible for the music, Peter Mush certainly has the runs on the board. His creativity on this album is at its zenith as he weaves his way around the keyboard, injecting a host of subtle inflections here, snippets of sonic bliss over there, all the while, keeping things under control. He really is the consummate puppeteer.
Mnomic Induction Of Lucid Dreaming for example, reminds me more of a Roger Powell style of album (Air Pocket) as its synth patterns are along similar, basic lines. No complaints from me here! Upwards And Onwards on the other hand is underpinned by a more fuel injected driving beat that follows the Hawkwind formula pretty well. The propulsive bass and drums played in perfect unison is what keeps this song so well executed. Another excellent track! Whilst the title track was a bit of a let-down for me, the fluid lead guitar excursions in Scurdy Flurdy are sensational. The closing song, Orchid Borealis is, for my ears, one of the best songs the band has written for many years. It is incredibly melodic with many gorgeous keyboard sections that are hard to ignore.
At the end of the day, the band have released yet another solid, if not unique style of albums that will appeal to a wide variety of people. If you have not yet heard this band before and are wanting to dip your toes in, this is as good a place to start as you are likely to get. For well seasoned fans, just don't expect anything too ground-breakingly different from what you have heard before. Well composed, instrumental cosmic odysseys like this don't come around every day but for my money, I am happy to be indulged by some of the most revered space travellers in the industry. Well done!
Flame Dream — Album Overview
I have said it before, and I hope I will be saying it many times more: the world of progressive rock holds many astonishing surprises. The one I refer to right now is the rather unexpected return of Flame Dream. A Swiss band who from 1978 onwards released a six string of albums before they disappeared from the scene. Whether they actually disbanded, or simply remained comatose or dormant until the time was right to finally be revived again, I don't know. But after 35+ years of inactivity, I'm sure glad they have returned.
Since the band has never found its way onto DPRP's pages, I imagine their name to be new to some. Or maybe even to many. So I thought it fitting to begin with an abbreviated album-introduction of their illustrious past.
Jan Buddenberg
For this we travel back in time to the year 1977 when Flame Dream is formed by Urs Waldispühl (guitar, vocals) and the four current FD members Roland Ruckstuhl (keyboards), Peter Wolf (flute, saxophone, vocals), Urs Hochuli (bass, vocals) and Peter "Pit" Furrer (drums, percussion). With shared lead vocals between Waldispühl and Wolf, in this formation they released their 1978 debut Calatea, an album which at an uncanny Yes resemblance brings a delightful hybrid of jazz-fusion inspired prog that on the one hand reminds of bands like Druid, England, and Starcastle. While on the other it thanks to intricate flute play and lush key virtuosity gets to share glimpses of Genesis to which the use of saxophone brings a memorable touch of originality. An overall solid effort that sees an artistic highlight in form of Volcano).
Following the departure of Waldispühl, FD released the conceptual themed Elements in 1979. Featuring even longer epic symphonic prog compositions, it still wears Yes influences with pride. But slowly and surely it shows FD finding their own synth-driven style, which next to a fine Genesis impression brings lush E.L.P. imprints. Adding a touch of pop-fusion funkiness, Mellotron and elements of classical music with vibrant PFM/UK synths, it is especially the composition Sea Monsters that will draw the attention of prog enthusiast here.
Introducing Dale Hauskins as a guest on guitar, it is with Out In The Dark that Flame Dream gradually start to leave the symphonic prog arena and orientate towards uplifting synth-pop which, in a typical 80s sound, energetically dashes on with touches of Gentle Giant, to which the nicely maturing vocals from Wolf brings colourful imagery of Jon Anderson and Peter Gabriel. Once again it offers perfectly arranged and adventurously inventive compositions with richness of fusion. In Wintertime Nights, I'm reminded of the Ukrainian solo artist Victor Go. The two-parted symphonic synth-driven Strange Meeting acts as a perfectly model for Flame Dream's current approach.
Paradise Lost from their subsequent 1982 album Supervision, which was recorded in a once more reduced line-up of four, can also be seen as a template for Flame Dream's current style. Overall, their ongoing transition towards less complex synth-pop becomes much more audible on this effort. Predominantly cheerful and energetic with fine uptempo performances and funky bass, the music still contains many tasteful UK influences. And there are parts that are reminiscent of late 70s synths as in Saga, The Buggles and the pop-like accomplishments of Anyone's Daughter and Phil Collins & Co. But to the discomfort of many, their music by now had lost most of its delectable fusion aspect. And as a result, general interest in Flame Dream's music slowly began to fade.
As a sign of the times, this decrease in interest was also the case for their next effort Travaganza from 1983. If one is to believe ProgArchives, this is a record only of interest for the Flame Dream die-hard. Which, as luck would have it, I consider myself to be one, because I actually adore the album. Admittedly, there's a huge nostalgia factor involved as this was the album that introduced me to their music all those decades ago. And I do have to fully acknowledge the fact that one can hardly call the album progressive seeing it is deeply rooted in typical 80s production of new-wave pop music. But recalling contemporary efforts by The Buggles, Jon Anderson, Anyone's Daughter, Grobschnitt and bands usually associated with the New German Wave (also known as "Neue Deutsche Welle") I think there are ample of fine moments to enjoy for the Roger Taylor / Gabriel-loving synth-pop enthusiast, in songs like Race My Car, Double Quick Action and the melancholic, warming In From The Cold.
On their final album, 8 On 6 from 1986, Flame Dream would take this descent into the electronic pop world even further. As before, Gabriel impressions come to the fore thanks to Wolf's vocal deliveries. As do synthetic elements of Jon Anderson. The album expresses an even more commercial appeal / unpleasantness (take your pick), a catchy blast of Holly Johnson, and a mid-Eighties Genesis sound on most of the songs. In The Heat Of The Night however, reminds me of the final pop recordings done by Anyone's Daughter (which they eventually released on Last Tracks). Despite prog values close to zero and a concluding disco inferno in form of Amigo, I find the album to be a nice enough effort to enjoy every once in a long while. But Flame Dream's fire of aspiration does tend to feel somewhat exhausted. The various remaining members of Flame Dream may well have reached the same conclusion because shortly after the band retreated from the scene.
Only to return fully refuelled after four decades of recharging, with their seventh album Silent Transition.
Flame Dream — Silent Transition
Consisting out of original founding members Ruckstuhl, Wolf, Hochuli and Furrer, completed in line-up by Alex Hutchings on guitars, the first aspect noticed on Silent Transition is the length of the songs. Ranging from six to fifteen minutes, this is not the only element Silent Transition shares with Flame Dream's earlier albums. Complemented by thoughtful reflective lyrics by Wolf, the music also showcases a wonderful return to true progressive songsmithery by composer/arranger Ruckstuhl, that is once again delectably oriented in jazz-fusion. And I mustn't forget to mention the authentic familiarity the music expresses through the marvellously time-unaffected voice of Wolf. He sounds just as emotional, melancholic and uplifting as I remember him to be from all those years ago.
A touch of synth-pop can also still be made out at times. Like in No Comfort Zone, which ominously opens the album in a distinctly refreshing 80s sound. Familiar Flame Dream sounds emerge, with an uplifting pop-melodic feel of Genesis and Victor Go. Around the fifth minute, the song however elegantly shifts towards an ambient passage that develops into rich proggy momentum. Intricate arrangements and luxurious synths shine brightly with UK. The punchy snare drum does take away a tiny bit of warmth for me. But when after a daunting movement the composition's melodies return for a concluding segment of A.B.W.H. textures with fine guitar work added by Hutchings, I feel perfectly at ease in the zone.
Silent Transition which opens with rocking guitar, follows a similar compositional path. At first, it shares synth-driven melodies that resonate with Saga. The sadness in Wolf's voice and the elegant melodies of the song envision Barclay James Harvest melancholy. This is followed by a delightful bossa nova samba à la Santana, highlighted by jazzy Alan Holdsworth guitar work by Hutchings, and classical piano by Ruckstuhl. This rekindles memories of Steve Negus' Economy Of Motion. Seguing back with restrained interplay onto its vibrantly Brazilian theme, the song finally returns to its rocking beginning. After multiple Saga-ish deliveries, it ends quietly with tenderly transporting transient flute that softly whispers with Genesis allure.
Following an entrance of desolate ice-cold atmospheres, album highlight Velvet Clouds also at first blends sparkling multilayered pop-melodics akin to Jon Anderson and Victor Go. It drifts ashore in ambient surroundings and, energised by piano, ultimately yields captivating Holdsworth fusion, thriving on odd time signatures and harmonic interplay. Ruckstuhl adds rich layers of virtuous synth. Together with the delightful bass-driven melodies, the second incarnation of UK shines again, beyond belief. Gerard, Deja Vu, Andrew Roussak, and E.L.P. enthusiasts please take note as well!
Emotionally charged with a tangible burden of melancholy, Out From The Sky follows this with intricate and sensitively subdued melodies that ripple comfortably onwards while subtlety of orchestral arrangements and Wolf's expressive voice in compliance to its lyrical statement offer a divine sense of hopeful relieve. An aspect the instrumental Signal On The Shores provides in spades as it wades from a pool of solitude surrounded by hymning voices into a great big ocean of attractive melodies awash with diversity and dynamics. Hutching's wonderful transporting guitar motifs deliver a grand beacon of hope lit by Camel.
Expertly saving the best for last, Winding Paths once again offers progressive fusion with opulently inventive rhythms and lots of creative musical ideas. This time through sizzling synths, percussion and bright melodies. These firmly remind of previous ABWH explorations to which Hutchings inserts another fabulous touch of Holdsworth gymnastics. A surprising combination of orchestral violin arrangements, the distinctive drum sound / rhythms, and Wolf's vocal delivery generates tempting memories of FM's City Of Fear. Perfectly in sync and harmony during the song's promenading instrumental work-out, this excellent song finally unwinds in a gracious orchestral lengthy coda that provides a serene ambient reflection that deeply satisfies.
Deep satisfaction is the same conclusion I can draw for the album Silent Transition. Independently released in digipak and accompanied by a 20-page booklet, I rate the album to be their most adventurous and consistently mature effort to date. As such it can easily compete with the best of their albums. For me, it almost effortlessly does and frankly surpasses every single one of these finer efforts.
From what I gather this is merely the beginning of something excitingly new. Work on a follow-up is already in its early stages. Probably no need to say this after so many words, but I am looking forward to this with great anticipation. A statement I also need to make for the long overdue official digital /CD issues that the band soon plan to release, at last. Hopefully all of them, because each on their own way these albums fully deserve artistic recognition, IMHO. Welcome back!