SONIC TRAVELOGUE

Progression by Failure has graduated to the sophomore level, proving that the 2009 self-titled debut was no flash in the pan, and creating another magnificent opus that is as accomplished if not more so than its illustrious predecessor. Main man, composer and keyboardist Nicolas Piveteau has attempted crowd funding with minimal results, proving once again the frailties of the much vaunted social media marketing dictatorship, and nevertheless released this brilliant work that just screams out for more attention. There are some immediate upgrades from the first album, as Sonic Travelogue has 2 regular sidemen of very high quality and yet hitherto unknown to me : a bold and vibrant drummer in Mike Saccoman and an opulent guitarist by the name of Drayen Labie, both of whom add some serious dynamics to Piveteau's complex instrumental pieces, that encompass a wide spectrum from aggressive sympho prog to medieval baroque tendencies, constantly sailing towards uncharted territories that keep a tight focus on masterful melodies on each and every piece. Piveteau's keyboard work was already exemplary before but now, he really reaches new heights in creativity, tone and exploration, unafraid of infusing some modern electronic sounds as well as funky old school e-piano, a slew of special effects all drawn from his battery of synthesizers.

Slamming one against the wall from the onset is a cold move but what a wakeup call in 'The Pyramid & the Sphere'! Ka-boom, mon ami! Hefty guitars , dripping electro pearls, volcanic drum beats work together to introduce the sensational jazz piano section, smokey room in your mind, ladies in long dresses, gents in tuxedos, Armagnac and Champagne are both de rigueur and flowing seductively. The nasty metallic assault returns, even more drool pooling the chin, this time pointing towards a hard synth sound, drums firmly in tow, stretching towards dissonance and even RIO. Surprising this heavier sound, but I like it, as the now ultra-jazzy lounge big band synths emulate the brass section of some early morning musical breakfast, a glowing sunrise on the horizon. Whistling bird synths recall Jan Hammer or even Patrick Moraz, a bold undertaking that serves as letters of noblesse. Symphonic master stroke.

Align that opener with another 10 minute + epic in 'Sparkles' and you just already know this is going to be so much fun. This piece takes the thing to even loftier heights and serve as a highlight track of masterful proportions, a prototypical example of 2015 symphonic prog's elite capabilities. Pulsating, thrilling, stormy, electrifying and urban. Piveteau does an original take on keyboard wizardry, not just by varying his instruments but the tones and effects are scintillating. It doesn't really sound like anything in Progland, a heady mixture of all the explicit ingredients we have in our genre, but led obviously by urgent classical tendencies, as well as adorned by dazzling detail and concrete structure. The gentle exit is astoundingly effective and proof of genius at work/play.

'Once Upon a Time' is a prime example of the juxtaposition of medieval sounds and hard-edged guitar-fueled propulsion, a crisp rhythmic foundation at its prime, only to blossom into a gorgeous melody that hits all the heartstrings and oozes out all the repressed melancholia in a person's soul. This could easily have stretched itself out into a more extended piece but I guess the next one will fulfill that obligation.

Daring to venture into funkier climes, as on the Cajun-fueled 'A Day in the Swamp', replete with groovy guitar mannerisms that are closer to Steve Cropper, Larry Carlton and Lee Ritenour than anything else, while the jambalaya-like electric pianos, clavinets and organs do some furious fusion, the piece suddenly morphs into a French Celtic stomp, something Malicorne, Patrick Broguiere and such would dare contemplate. The idea was perhaps to remind us that most parts of America and Canada were first discovered by Frenchmen and not the Brits, who came only later. Eclectic stuff, I daresay!

Ignited by a pastoral acoustic guitar frill, 'Forest of Doubt' has a mind-numbing theme that I have a hard time shaking, a sweeping synthesizer loop scours the mellotron-doused ceiling and a sound I am quite weak-kneed about, almost like a mid-period Genesis outtake, with a 'Nights in White Satin' finale. I have no doubt that this is another key piece of this remarkably startling album, a sheer delight. The synth work alone is exemplary but when the drums roll on in (they really kick into a groove), the arrangement just skyrockets upwards in volatile splendor.

Back to some noisy stuff with 'Escaping the Ankou', a space rock blast if I ever heard one, complete with a spooooooky metallic synthesizer rave that is out of any sci-fi oldie you care to imagine. Cosmic debris flung at breakneck speed over the steaming organ makes this even more dramatic, weird bass keyboard oscillations and a sudden jazz lounge piano solo that will catch one wholly off guard, and a slew of careening oddball sounds, what a thrilling ride! The mood is visceral and exalting, the playing is otherworldly in technique and delivery.

'The Sidh's Gate' should almost be considered as a segue piece, a variation on the previous insanity, a more obscure mood pervades with dexterity. The synth here has a saxophone patched into its memory banks and the result is quite breathtaking. The second section is pure symphonic bliss with an orchestral grandeur. Another character track is the sublime 'Autumn Mood', a charming reverie on that spirited season when cooler climes inherit the sun and the wind, here expressed as a thrilling piano etude of the very highest pedigree, a Chopin-like moment in time and space. It becomes abundantly clear that Nicolas Piveteau is a superb technician, extolling both grace, fire and technique with equal doses of proficiency. The charming silence only enhances the glorious sentiments of autumn, when coolness finally challenges the sunny heat, a delicatessen equaling prime Rick Wakeman.

The recording ends with the majestic 'The End of Sonic Vibrations' and that is when the truly spectacular kicks in, a rare glimpse at a finale that encompasses all what was heard before as well as preparing the next step in Piveteau's modern prog career and craft. The main extract is a valiant confidence, a vision that has few clones, a mastery of atmosphere, technique, composition, inspiration and outright class. The exhilarating orgasm is led by a hallowed guitar, long and bluesy just like we like them, lush with sensual flush, erotic undertones perhaps but Labie's sexual guitar rant certainly qualifies being somewhat explosive. This rates highly as a cousin of tracks like IQ's 'Road to Bones' or PTree's 'Anesthesize', fine examples of epic, spectral and mesmerizing 21st century prog.

This is a ridiculously interesting album of supreme quality, sound, playing and material. Easy masterpiece, with all that sparkling piano as well as a real drummer and not some robotic pounder.

5 musical journals