NUMBERS

Three years on from the debut, and Luxembourg-based Light Damage are back with an album that builds on the first album and expands on that platform. Another change of drummer with Christophe Szczryk now on board, but there is also the use of guests which have allowed the band to bring in cello, double bass, violin, flute and most notably two female singers. One of these, Marilyn Placek, is involved with the one truly epic song, "From Minor to Sailor" which nearly break the twenty-minute barrier.

On the first album I said they reminded me of Guy Manning, and although that is still very much the case, they have hardened the sound as well as broadened it, so although we can be treated to some flowing piano and delicate bass, this can give way to some driving riffing guitars. I am also very impressed with Szczryk who really understands his place in the band, so much so that he can be driving the band with incredibly strong drumming (along with some great rolls around the kit), or just sits back and takes a breather and contributes to the overall sound by playing absolutely nothing. There is also a superb use of different sounds from cymbals, which provides a superb backdrop for the rest of the band. Guitarist Stéphane Lecocq has also really matured with this album, and his powerful interplay with keyboard player Sébastien Pérignon really drives the band on.

Strong neo-prog with large elements of both symphonic and hard rock, this is a wonderful follow-up. It will be interesting indeed to see how this band progresses over the next few years, as two albums in they are already very impressive indeed.

LIGHT DAMAGE is putting the cover back on with an immense album that will become cult over the years. A group from nowhere or from a dark little road on a moonless evening to an endless destination; LIGHT DAMAGE which takes off started in 2005 to cover titles from different groups then slowly defined its style of music to offer something unique. Their eponymous 2014 album already at its best for me ... LIGHT DAMAGE or the OLNI (unidentified Luxembourg object)! On the influence side, because we often look for influences to know if we will read the column to the end. I will quote you GENESIS just for the use of a "Musical box", MARILLION for the flute and the guitar, SYLVAN'S for the phrasing and the long flights, a little of JETHRO TULL and of KING CRIMSON in bulk and of David DARLING for the cello used and a lot of LIGHT DAMAGE because this group has its own sound! This is where it gets interesting! Indeed, this implies that you risk diving into the album as I literally dove into "Misplaced Chilhood" or "Clutching at Straws" a few years ago now, without concessions, without control and without research. 'influences! OLNI I tell you!

Regarding the titles, 6 including a Dantesque of almost 20 minutes with use of cello, flutes as in the good old days, phrasing monologue; from "Number 261" the rhythm organ to the 30''TO MARS, a plaintive guitar à la KING CRIMSON 2nd version accompanied by an energetic and very present drums set the tone (failing the A!) on duet voices . "Bloomed" follows with this haunting, alluring instrumental where the guitar plays in jerks just long enough to introduce "From Minor to Sailor". This flagship title that stunned me: a plaintive guitar, melodic synths, a clear almost aerial drums on one side, the two voices that call out around 5 minutes for a sweet exchange, a break around 7 minutes to rest a little before moving on to a Rotheryien solo. An atmosphere again Misplacienne (the darkest moment of the title) around 9 minutes then opening on a succession of instrumental and vocal returns and a final around 16 minutes on the resumption of the main air as if nothing had happened. passed before. Until the flute concludes this epic journey on a miner wanting to build a boat. A plaintive, melancholy and also paradoxically lively sound. The second part of the album, like in the days of LPS and other K7s, begins with relaxing cello notes before giving way to the voice and then to the enjoyable guitar with Rothery returns; an exhilarating beautiful crescendo. "Phantom Twin" comes along with an explosive intro, AYREON-style atmospheres on the voice of P. DICK, bringing here also a plaintive song with detours on the neo-progressive current of the 80s, but updated, boosted with a more raised sound , demonstrative and striking. Lastly, verses by E. GALEANO on a calm, sober tune giving pride of place to classical piano and violin instruments, just to return to the current world.

This 48'30 '' album struck me by the mastery of the tunes on offer, by the logical thought given to the instruments, whether wind or electric. By the time given to the guitar often plaintive then less melancholy to give more hope to the atmospheres, by the distribution of almost meditative, dark atmospheres followed by others more cheerful to bring to a note of serenity at the end of this album! You will understand, a very great moment for a band that has transcended and captured a sound of the 2020s, quite simply! An OLNI bomb !!