MOLIGNAK

4.5 stars really!!!

Well our major Quebec composer had kept on the Radio Silence airwaves for over 20 years since his (previously lone) solo album, but what a brilliant comeback this album makes. I am actually trying to fond adequate superlatives to describe this album, but I can tell you this is NOT an easy task, because the music is definitely of a classical vein, but it has a certain je-ne-sais-quoi of Maneige music. Definitely an awesome album where Langlois unleashes his "songwriting" (but can it still be called that?) that obviously he has had time to fine-tune to perfection.

And clearly this album, although not perfect, is one of the most exciting releases of the new millennium. The way Langlois' music flows out so effortlessly is simply more than amazing, it is unique. This album is IMHO one of those records that will have to be counted with over the next centuries along with Art Zoyd or Univers Zero's bests works (and to a lesser extent Karda Estra), but Molignak does not share the lugubrious and dark, sombre atmospheres of these groups. The music is simply awesome in celebrating life's beauties and in some way resembles Harmonium's most beautiful moments of Histoire Sans Parole on the Cinquième Saison album. Yes, that good!!!! And maybe even better in some ways! But the album is not flawless either as Jérome made some strange choices in drum programming ruining some superb moments that should've never been. But this might just be nit-picking to some, as the rest of this instrumental album is nearing perfection on all other levels.

The music is more related to romantic chamber music than to the usual Maneige fusion of thirty years past, but in some ways is still fairly closely linked to Les Porches and obviously is just as pastoral as that album was. Clearly Jérome is composing a good part of his music in the middle of nature somewhere by a stream and in some ways the music can make you think of a nobler Disney's Fantasia animations of Ludwig's Sixth. Again, it is a little too bad that some of those drum programming is sometimes a bit too obtrusive (see the middle section of Undertow), a weird choice when you've got at disposal one of the king of percussion, ex-Maneige's Gilles Schetagne. Langlois is using to great affects his clarinet (along with his daughter's as well), but most of his works is through the piano, and sometimes even through his electric guitar. Cormier's violin (he played with all of them back then in La Belle Province) Légaré's bass (both acoustic and electric) are also perfectly used to the point that you'd swear that they helped out writing.

I'd better end this review here, because I can only repeat whatever I've already said before. Not only is this album absolutely essential if you are a Maneige fan, but even if you are not aware of that group's works. Among the better "classical composer" with Daniel Denis and Richard Willeman, Langlois pulls one of those stunning works that unfortunately will probably go unnoticed even in the progressive realm.

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.