SALTIMBANQUES

The seventh effort by this band finds them reaching yet another creative peak - the 2003 release "Saltimbanques" is a lovely progressive feast in which the use of weird sonorities (mixing psychedelia and fusion) frankly mixes well with a set of lightweight arrangements. So, here is a clever, softly delivered mixture of accessibility and solid experimentation. Experimenting with bizarre nuances of the prog genre in not that new in Edhels' history: their cornerstone album "Astro-Logical" found them incorporating an interesting amalgam of electronic frameworks and Crimsonian textures through creative, intricate melodies. "Saltimbanques" signifies a step beyond in this constant exploration performed by Ceccotti & co.: the rhythm section is utilized through rhythm computers, but this is not a chill-out or trance effort, since the rhythm sequences are intelligently adapted to the complex patterns and cadences inherent to the compositions. The namesake track opens up the album with gypsy colors, patently marked by agile acoustic guitar arpeggios and electric guitar solos, that at times get as bizarre as some sort of Fripp-meets-Holdsworth. 'Legende-III' brings a more relaxed ambience, relatively similar to a modernized Hackett: for a last minute rumpus, the mood gets subtly augmented without breaking the track's integrality. 'Schizo-Scherzo' bears a weird melodic development, but it is not challenging or inscrutable since its framework is serene and exotic: this is a beautiful, sober mixture of symphonic and jazz-pop. The same trend is pursed at 'Avignon', being even more sober. On the other hand, 'Rever avec Toi' and 'Nomad's Joke' are delicate symphonic ballads whose romantic vibes feel very ethereal. The band show how comfortable they feel dealing with constrained melodic structures functioning as a well-oiled ensemble. Also set on a slow tempo but with a defined jazzy tendency, 'Bruxelles' reminds us of 90s Holdsworth at his most introspective - besides its set of bizarre harmonic deliveries, this track is designed to motivate the warm side of the listener's heart. 'Paradoxical Intentions' bears a spacey aura very much a-la Vangelis with clear hints to the electronic side of the Projekcts, plus the recurrent exotic nuances evident in both the rhythm sequences and keyboard ornaments. You can describe this track as a cousin of most tracks included in the "Astro- Logical" album, and let me add that it comprises one of the most exciting guitar leads in the album. 'Eternelle' is kinder, taking a hard rock-friendly approach to a slow jazz-rock piece: the track is really fresh as it is melancholic. 'Siena' is pure fusion with acoustic predominance, simplistic yet cleverly evocative. So far, this album has been a beautiful travel of sound that is now about to be completed with the 11 ½ minute long closure 'Mare Temporis'. Even from the earliest passages we can figure that this piece is majestic and heavily lyrical. This piece might as well be the perfect soundtrack for a walk about the rooms of a desolate palace, big and pompous yet filled with some creepy atmosphere. The guitar solos, very Hackett-ish, sound like soft laments confidently displayed over the keyboard layers and mysterious piano chord progressions. For the last two minutes a climax arrives, not bombastic but clearly charged on an emotional level. The creepy and the ethereal remain fused in a single sonic source - even though this track states a contrast with most of the melodic schemes pursued in the other pieces, it serves as a powerful closure for the album. This Edhels album is a jewel in the progressive rock scene for the new millennium.