SAPIENS CHAPITRE 3/3: ACTUM

The intrepid Jean-Pierre Louveton has made a name for himself with French prog band Nemo, with ended its run of brilliant albums in 2015 with the startlingly amazing Coma, deciding to embark on a full-fledged solo career which had already paralleled the band with a series of delicious albums under the moniker JPL, beginning in 2002, Le Livre Blanc (2017) being a masterpiece in my mind.

JPL undertook a huge epic task ,a three-section opus on the human condition (a French fascination with celebrated names like Malraux, Pascal, Zola, Baudelaire, Voltaire, Hugo, Proust, Camus etc..), labelled Sapiens, all three have gorgeous artwork that has created quite a commotion as well. Chapter 1 Exordium (2020), followed by Chapter 2 Deus Ex-Machina (2021) and now Chapter 3 Actum (2022). The first two chapters have received huge critical acclaim, but I will review first this third one, as it is, IMHO, the finest of the trio. In fact, JPL with compile all three into one boxset, with even more glorious artwork, a gift I fully intend to give myself.

For those who are unaware of Louveton's musical qualities, let me state for the record that he is an exceptional electric and acoustic guitarist as well as a fine vocalist in the theatrical French prog tradition (Le Guennec, Decamps, Balzer etc..). He provides an equally deadly bass guitar as well as occasional keyboards. He has a compositional style down pat that highlights melody, harmonics, technical bravura and lyrical commentary (mais oui, it helps to know French). He has always demonstrated prolific tendencies, a mind constantly creative and adventurous. The very first moments set the standard to follow, as an ominous electronic burp morphs into a hard-jazz groove that is truly ear-catching and most pleasant.

"Paradis Perdu" has a crispness, a slash and burn methodology, and a chugging sizzle that are hard to ignore. Nemo drummer Jean-Baptiste Itier propels forcefully as JL rants in Gallic splendour, hushed, raging and exalted, as per the style. His guitar uncorks a humble rip, a prelude of what is to follow further down the setlist. "Mon Cerceuil" is a lazy furrow, eventually evolving into a choppy lament where flute delicacy and rhythmic dread co-habitates skillfully. Drummer Florent Ville taps hard and fast in maintaining the jumpy almost funereal ambience, slowly elevating the angst level with added effusive bombast, as the e-guitar twirls mightily. The outro is a gentle whimper of resolution. Sounding more like classic Nemo, the steamrolling "Alias (La Machine2)" offers desperate vocals, underpinned by harder axe blasts, a slippery bass, berserk synths as well as Ville's thunderous pace. Brash harshness defines the mood here, a pulsating piece full of bold defiance. Other Nemo colleague Guillaume Fontaine helps on keys. The sadness surfaces on "Dansez Maintenant" (Dance now), JP's melancholic vocals serving to set up the almost ZZ Top like rhythm guitar onslaught, as the duet of electric guitar and synths then parallel each other defiantly, in a terrific setting, adding a lovely hurdy-gurdy tidbit to the loud guitars. Very cool and very French.

Epic time as the 5 parts "Memento Mori" lunges ahead, with its running time of 23 minutes. Orchestral maneuvering sets the tempo, a welcome classical overtone that will supply fabulous contrast to the glorious guitar march towards the unknown, choir mellotron in tow. The tortuous frets twist in unison with the bass and drums, creating a glum, almost war-like atmosphere, Itier once again demonstrates his percussive skills with some solid touches. JP delivers hushed yet angry vocals, as he fulminates over the human condition, occasionally tossing sweeter segments verging on insanity. Did I mention theatricality earlier? Even if one does not speak French, the gist will appear in his delivery clear as fractured crystal. The bass pops like the best corn, as the guitar goes on an extended rant, with that patented frizzy overtone that JP seems to favour. Ornate piano from Stephanie Vouillot adds a touch of drama, and a lovely as well as unexpected jazzy soprano sax solo (Sylvain Haon) seals the deal. Nothing sedate, all the material is jumpy, nervous and edgy. The tremendous fifth part pitches in wobbly bass, bombastic mellotron choirs as well as sensational keys, propellent drums and the usual marvellous guitar reflections.

An excellent conclusion to the series, again all three releases combine to provide an amazing modern prog ride, JPL is an artist that needs your attention and support as Nemo was a highly rated and appreciated member of the prog community, and his solo stuff is just an onward journey.

4.5 keepsakes of the dead