MOLIGNAK

Hailing from Quebec, Jerome Langlois belongs among the most significant figures of 70's Canadian Prog.Originally a member Lasting Weep, he joined Maneige in 1972, with whom he produced two great albums, ''Maneige'' and ''Les Porches'', before returning to the Lasting Weep line-up until its demise in 1976.His name appears again in 1984, when he released the piano solo album ''Themes''.He continued his career as a musician, creating music for international films and television programms.In 2005 a surprising comeback in discography occurs with the ''Molignak'' album, released on ProgQuebec.Langlois plays a variety of instruments in the album, including piano, clarinet, electric guitar as well as producing several sound effects, while he was helped by his daughter Romie De Guise-Langlois on bass/bass clarinet, ex-Octobre Mario Legare on electric and acoustic bass, longtime Maneige drummer Gilles Schetagne and violin player Bernard Cormier, member of Conventum, Yves Laferrière's studio band and a former bandmate on Lasting Weep.

This is a different kind of a Prog album.Not that MANEIGE's influence is totally absent, but Langlois has moved on as a composer to the point that his music has become heavily Classical-influenced, gathering a tiny Chamber orchestra on ''Molignak'' and choosing to create soundscapes that can be ethereal, sinister, airy and dramatic at the same time.Langlois' compositions rely now heavily on piano preludes and interludes, intense string sections and clarinet moves and solos in a strong Classical/R.I.O. mood with deep, instrumental arrangements.The changing atmospheres are the absolute characteristic of the album.From romantic textures to dissonant exercises, ''Molignak'' evolves as a highly artistic album for forward thinking listeners.Jazzy influences are not absent either, while the folkier parts are the closest to MANEIGE's early albums.Electric guitars are used rarely, like on the sensitive ''Jac 23'' and its definite DAN AR BRAZ-like approach.Very often the music reminds me of the intense NEW TROLLS Classical-drenched arrangements in the ''Concerto grosso'' series of albums, especially in the violin-driven parts.The tracks, which feature some more depth with the addition of the rhythm section, are more orchestral in nature and definitely more grandiose with a very cinematic attitude, another angle of Langlois' genuine mind.

One thing is for sure, this album was not created to satisfy every pair of ears of this mightly world.It is a pretty academic-sounding effort with some tremendous instrumental segments, strongly influenced by Jazz, Classical and Folk Music and with a minimalistic approach to rock instrumentation.Warmly recommended to anyone with an open mind.