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EMILE JACOTEY

Ange

Symphonic Prog


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loserboy
PROG REVIEWER
5 stars "Emile Jacotey" was a return to their old form drawing back on their classic influences. In classic style this concept album runs like a continuous story full of harder and acoustic influences throughout. Songs are truely wonderful and full of mystical magic with some gorgeous analog keyboard runs and guitar/bass/drum interplay. In many ways this album carries very much like their debut album with perhaps less KING CRIMSON influences. This is an excellent album full of some grand musical moments. Of course all lyrics are sung in native French and are convincingly done so with great charisma and emotion. Also some scrumptious guitar playing here...

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Send comments to loserboy (BETA) | Report this review (#19777)
Posted Sunday, March 21, 2004 | Review Permalink
Sean Trane
SPECIAL COLLABORATOR
Prog Folk
3 stars After my fave Cimetière and the much-acclaimed Délire, Ange went forward another step and fell into the Over-Ambitious ravine and took a dive in the sea of Failed Concepts. Based on an old booger sprawling his souvenirs over the album, the storyline simply fails to raise one hair of interest in my voluminous mop over my head. The main character keeps appearing unannounced throughout the album and usually interrupting the flow of music. Not that the music is that great compared to previous albums anyway, but EJ also features Délire's main flaw: ever-present vocals, although they're not quite as invasive. Actually it's hard to believe it is Christian Descamps that's singing (well almost anyway), because the singing is more subdued and recorded quite differently, mixed lower and the shorter tracks (or at least the absence of longer ones) make this album very different from Délire.

Despite a weak concept and a different manner to deliver them, Christian's lyrics remain strong enough to warrant a careful listen for odd jokes, joyous banter and ribaldry. Throughout the album there isn't much space given for instrumental forays, if you'll except the album-long Les Noces, where the band plays around first a furious keyboard theme then a marital jig that tends to overstay its welcome despite mellotrons washes. The track I like best on this album is the proggiest (imho) Ego Et Deus, but I find that even this track would have a herd time finding a spot on Délire or Cimetière. Aurelia also has its charms as well. t's not that this album is that weak, but it pales in comparison with what came before and some of what would come after it (Mandrins and Guet Apens).

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Send comments to Sean Trane (BETA) | Report this review (#19778)
Posted Friday, October 22, 2004 | Review Permalink
ILIAKIS1982@.
4 stars This is one of my best Ange albums,and with the exeption of the first track all the tunes are from very good to great.Very expressive dramatic voice- listen ''sur la trace de fees''bbrrrr.Very symphonic with a strange mellotron sound,and sometimes more folk. A great together with the prevous 2 albums.

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Send comments to (BETA) | Report this review (#43585)
Posted Saturday, August 20, 2005 | Review Permalink
3 stars I used to have Guet Apens back in the 80s and I thought this was a good band to listen to, but now I am not so sure anymore. This is a good CD but not essential in any way. Theres not enough music to justify it. I love Les Noces but not all the songs. Not bad but I was expecting more.

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Send comments to steelyhead (BETA) | Report this review (#69173)
Posted Sunday, February 12, 2006 | Review Permalink
5 stars The fourth work released in 1975 "Emile Jacotey". The drum alternated to Guenole Biger. This work is a concept album that makes the legend about which the elderly person talks a theme. Music advances exchanging elderly person's monolog. Deep neither fantasy beauty nor gloominess that is the feature of ANGE has changed. However, music was very refined, and the performance improved the grade. Tone quality became excellent, too. A beautiful melody has been enhanced. The expression is also wide from a dark symphony to a comical song. Moreover, the arrangement for nursery rhyme that is is also interesting. Especially, it is a keyboard orchestration and a guitar that stands out. It is a splendid album that establishes an original style of rock rather than progressive rock. 「Le nain de stanislas」,「Les noces」is a masterpiece.

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Send comments to braindamage (BETA) | Report this review (#78216)
Posted Monday, May 15, 2006 | Review Permalink
4 stars superbe album maybe i prefer their previous record here... theres more words...more storytelling...

I understand people who dont understand French will probably found this album just good & no more... but sadly you re wrong (i know im pretentious :) But the main force of Ange are the lyrics... it s poetic & entertaining& imaginative ...even violent sometimes (seems to be influ. by Brel)

So if you cant understand the lyrics ...an important dimension of the band remain in the smog... So if you find the music really good (in this album) this is not really a problem... But if u are a bit disapointed ...Those mysterious lyrics will not make it better...

It s hard sometimes to hear words without understanding & i have the same prob with a much bigger english music scene... but well i understand rather well english...just not all his clear as swiss water...

'Sur la trace des Fees' & 'Le Marchands de Planetes' are my fave here... but nearly the whole album is perfect...

i give it 4 its a great album... but ultimate classic are for rock n roll giants... Ange is a surprising band definitly thanx to those hippe french angels

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Send comments to TheRedPlanet (BETA) | Report this review (#94013)
Posted Tuesday, October 10, 2006 | Review Permalink
clkarob@nbnet
5 stars This was my first intro to Ange, & I must say, it didn't take long to become of of my faves among my collection. The friend who recommended them said they sounded like Genesis, But I'd never heard of Genesis at the time & wouldn't for years after. I found Ange on this album to be a combo of pastoral idylls (sur la trace des fees, jour apres jour & ode a Emile), hard rocking eerie character tales (le nain de Stanislas & Bele bele petite chevre) & then the 2nd side dealing with the return of Ego, who now educated, will intend to replace Deus, as the day to day guide to the inhabitants. But the village life has its' own daily realities; love from afar, the wedding & the attendant family reunion & fanfare. Then they finish with Le Marchand des Planetes, that seems out of place at the end, but once you've grown into the album, it just seems to take you to another place, as if with the day ending, the dreaming begins ... INstrumentally, the organ & mellotron take the main stage, Christian Decamps' theatrical lyrics are firing on all cylinders, & the rest of the band provides the sort of backing & accompaniment that made Genesis's best works more than a sum of the total. I constantly rate this album as among the best in prog, though being bilingual (french acadian, english as a second language) does help as the words are an integral part of the album, but not necessary to its' enjoyment. In short a masterpiece, from a group that to me, belongs among the giants of the prog genre.

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Send comments to (BETA) | Report this review (#113351)
Posted Saturday, February 24, 2007 | Review Permalink
ZowieZiggy
PROG REVIEWER
3 stars Fourth album for Ange. Two of their previous ones were really masterpieces. Ange's world is made of very weird lyrics and a music strongly inspired by Genesis and Crimson.

This release is a concept album of which Emile Jacotey is the central character. This old man will appear hear and there throughout the album. He will introduce himself, explain what he has been doing, quickly talking about his place and his family. I must say that the concept is not very strong and does not really appeal to me.

The album will be on the harder edge at times. The opener for instance, is probably Ange's hardest track so far. Only the end of the song is very quiet and introduces the old man talking about the legends which will be developed throughout the album.

We'll get some pure symphonic songs as well here of course. "Sur La Trace Des Fées" is faithful with the brilliance of their splendid music and fantastic vocals distlled by Christian Descamps. This fairy tales song sounds very Crimson-esque, but this is not new. "Ode A Emile" start with Emile Jacotey counting a bit of his life. But nothing interesting, really. Pure banalities. Fortunately, the melody is great and the intrumental parts are extremely catchy. One of the best song of this album.

I am not really convinced by "Ego Et Deus" which is the weakest song of the album. There will be some good guitar work during "J'irai Dormir Plus Loin Que Ton Sommeil". This will save this rather average song.

"Aurelia" is a simple and short piece of music, a bit commercial. Lyrics are somewhat sexual oriented (but nothing as strong as in some previous songs). Very light song. Like "Jour Après Jour", very much "Talk To The Wind" oriented.

We'll finally get a more traditional Ange song with "Les Noces". A brilliant hymn like Ange was used to produced. It is a descirption of a mariage feast with all its excesses (food, drinks and sex). It is the longest number of this album. We are far from Ange's epics. Nothing such as "Tels Quels" or "Au-Delà du Délire".

Several good songs here, but no real highlight nor great instrumental pieces even if the last section of "Le Nain De Stanislas" is very powerful and reminds us the great Ange we all know. Great keys as well as a good (hard) guitar break.

The closing number "Le Marchand Des Planètes" is a good song but this is a bit short in comparison with what Ange has been producing so far. This album sounds more theatrical with short scenes. Lyrics are not as flamboyant as the ones Christian has been used us to.

IMO, it is the weakest Ange album so far : music and lyrics are not on par (even if you understand them, like I do). Sorry guys. Three stars.

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Send comments to ZowieZiggy (BETA) | Report this review (#120823)
Posted Saturday, May 05, 2007 | Review Permalink
4 stars This review is based on the following CD release: Philips 842 240-2

"Emile Jacotey" is my first ANGE experience. Apart from the highly original artwork this album is a witness to a highly artistic, almost theatrical musical performance. The histrionic vocals in the best tradition of Gabriel, Hammill, or Fish leave a very memorable impression. The lyrics are in French. As far as I can judge, they are quite metaphoric and although making little sense in general they are highly imaginative and remind you of the early Gabriel texts. Most of the songs are quite easy to get into and I after a couple of listens I was able to sing along. I'd say this is a very good work which should appeal to the fans of early GENESIS. Overall, the music deserves three solid stars and I am adding one more star for the original sound (especially the vocals!) and an interesting concept (incorporating into the songs the life of a seemingly ordinary person; but each ordinary person is a universe in itself). I am looking forward to getting to know the rest of ANGE classic albums.

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Send comments to warwick (BETA) | Report this review (#132782)
Posted Saturday, August 11, 2007 | Review Permalink
Kotro
PROG REVIEWER
3 stars To top an album borderlining on perfection is always a difficult task, and Ange really had this problem when it came to surpassing Au-delà Du Délire. Let's cut to the chase: they failed in doing so - but at least they tried. The moment I picked this album up in the record store, I could feel something different. Starting with the cover, which seemed more produced, with a little more care put into it than on previous albums. Turning the case around, I immediately noticed another change: Ange had hit the 10 song mark - were they abdicating longer compositions in favour of more, smaller tracks? Would this have repercussions in their sound? I took the album home to find out.

So what do we have here? After the mystical medieval journey provided by Au-delà Du Délire, Ange deliver with Emile Jacotey a songbook filled with ups and downs, but never really a bad moment. Quick run-through: the album is opened by Bêle, Bêle Petite Chèvre, a fast-paced guitar-driven track, intertwined by calmer interludes. The famous Ange organ is only mildly heard in this track, which features the usual high-quality electric guitar work and Christian Decamps usual theatrical range. But it really is a pretty normal rocker, not the great start to the album one would expect. A spoken passage (Emile, we assume) makes the transition to what is probably the finest song on the album, the gentle and spacey ballad Sur La Trace des Fées. This one begins with the eerie keyboard we love so much and some calm yet emotional singing by Christian, that soon grows in intensity. Lovely keyboards (piano and organ) present on this one. Again the theatrical multi-character voice of Christian Decamps appears, this time to open Le Nain de Stanislas, a song that begins with the classical electric guitar/organ interplay, but in a rather childish tone. However, this seemingly childish and amusing track soon hardens its stance, turning into a powerful invective against "Monsieur Stanislas", conveyed both by the inflamed vocals and the quickening of the rhythm of the playing. The finale features some more of that delicious Ange interplay, with the electric guitar in good shape. Jour Après Jour follows, in the form of a delicate acoustic ballad, sprinkled here and there with organ. It's quite a soothing song, definitely not something to quicken your pulse. Some more narration makes the transition to Ode à Émile. The title displays pretty much the feeling of the song - it is a majestic and emotional track, again pretty much due to the fantastic singing. Now, the next four tracks should probably be seen as a single, long one, entitled Ego et Deus, which serves also as title to it's first section, track six. This first section sounds more like previous Ange works than anything else on this album, with the very strong presence of the organ in the building of the song. It is a strong track, with some calm interludes between the more aggressive parts. There really isn't any sequence into the second section, J'irai Dormir Plus Loin Que Ton Sommeil. This one is completely different from the previous (indeed, all four tracks of Ego et Deus are), resembling more a late night cabaret song, featuring (again) some great vocals and very interesting guitar work (the final chorus is one of the best moments in the album). The third section, Aurelia, is another small, peaceful ballad, a bit more vibrant than the previous. This loving piece includes a great keyboard solo while Christian Decamps vocals on this track are probably at their most "normal". Les Noces finalizes Ego et Deus, beginning with some classical Decamps narration over a background of eerie organ. It then speeds up, courtesy of the drums and the bass, but still with the sluggish organ atmosphere. Some cheerful playing by the electric piano and the guitar really provide a balance with the eeriness of the organ, turning it into a quite funky track. A piano interrupts this funky section, opening way to a cacophony of sounds, voices, laughter that lead the song to its end. By now, all the funkiness is turning from interesting to borderline annoying. Le Marchand des Planètes ends the album pretty much the way it began: with an unremarkable track. The only thing memorable about it is the feeling that it is out of place, being a terrible closer. Its not in any way poorly composed or played, but its just a bit bland compared to other parts of the album - by this time, we've heard it all, and this track just doesn't bring anything new. The spacey echoing guitar in the finale is a good moment, but not enough to save this track.

What more can I say about this? In the end, Emile Jacotey fails to be as much a rewarding listening experience as previous albums. The band tried too hard to top their first three records, and that resulted in an album whose composition sounds forced, unremarkable and ultimately unmemorable. I can't say there are bad songs here - at this point I don't believe Ange were capable of making a bad song. But most of them lack the brilliance, the excitement, the finesse of previous works. While there are no dull moments, there aren't also that many exciting ones (Sur La Trace des Fées is an excellent track, one of Ange's best, but it's calm nature doesn't provide any excitement). It's still Ange, and therefore something to be explored, but it is just not their best moment.

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Send comments to Kotro (BETA) | Report this review (#161590)
Posted Monday, February 11, 2008 | Review Permalink
clarke2001
SPECIAL COLLABORATOR
Honorary Collaborator
3 stars

I'm really, really, curious to know what would my impression be if I'd be a French speaker. For me, it's like skinning a skinny rabbit: when you remove the skin, the yummy meat should appear and indeed, the meet is yummy, but the rabbit is too skinny, so expect no feast. The same goes for poor old Mr. Jacotey:

I'm forced to ignore the lyrics - but I must admit, the voice sounds pleasant, passionate and there's obviously a story worth telling but alas, my French is slightly better than my Etrurian.

What is left is the instrumental side of music - I compared it to a meat that is yummy, but not substantial enough.

The music reflect that French dreamy charm nicely (present not only in French symph, but in French music in general) but it's not enough to fulfill my appetite: it consists of simple layers: a heavy guitar (without tagging this music heavy prog), sometimes acoustic guitar in the background, spacey synthscapes, a traces of organ and synth solos, a sip of vibes, unnoticeable drums..and nothing else. No details.

Actually, that's not right. There are many details to be discovered, they just do not build your monstrously good 70's prog rock album that's sending shivers down your spine.

That's not very fair point of view, I know; it seems like I'm criticizing it for not being a masterpiece.

It should be judged in it's own right; but since I'm a human being and therefore imperfect, I'll tell you I had high expectation for this one, since it was (is) so highly praised in prog rock community, and I just discovered a wonderful world of French prog. I can't compare it to other ANGE's albums because I'm not familiar with them. Yet. (this yet is significant; this is not a bad album after all.)

Well, it sounds like a watered down symphonic rock (again, I'm distancing myself from the possibly extraordinary good lyrics). It even sounds poppy at times. Not bad, but not too adventurous - at the moment I was listening the simplified Imagine du Temps by ATOLL - in another moment I begged for more. More development, I mean. I also like simpler tunes in general, IF they're brave enough. This one is neither here nor there. But it's good enough to encourage me checking something else from the band's catalogue. Perhaps my perception will shift with time, but I don't think so.

Now, after 400 words of review you still do not know nothing about Emile Jacotey. Well, after repeated listening of the album, I still do not know nothing now about exciting and adventurous music.

This review reflects the album. It's not too good, it's not too bad...it's just a pleasant routine.

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Send comments to clarke2001 (BETA) | Report this review (#166306)
Posted Thursday, April 10, 2008 | Review Permalink
ExittheLemming
PROG REVIEWER
3 stars I promise to tone down the cheap 'French' gags this time...

As to who exactly Emile Jacotay is/was is obscure but I have an inkling he was not a historic personage and perhaps stands as a metaphor here for 'everyman' (Or at least the ones who possess berets and/or scarves)

'Bêle, Bêle petite chèvre' - Google translation tools are not to be trusted. This ain't really a song about a small goat is it? Clattering dissonant guitar chord kicks things off before we meet quite a conventional rock track differentiated only by Ange's unique brand of theatrical singing. Christian Decamps in in fine agitated form and his litany of audible niggles is halted periodically by a very memorable little 'mallet motif heard in isolation.

Was that a bleating goat I just heard? Anyway, some French dude now starts narrating

(Monsiuer Jacotey we assume?) and the tracks ends rather abruptly.

'Sur la trace des Fées' - May have something to do with the pursuit or location of fairies (while traveling by goat?) This is a very powerful song with sensitive acoustic guitar picking transitioning into over-driven electric as the piece gathers momentum. Together with the tasteful string and choir like sounds, the melody is haunting and delivered in a passionate and dynamic manner.

'Le nain de Stanislas' - Dwarfs of eastern european descent this time? Even by his own standards, a rather snarling and affected vocal from Decamps, replete with cackling 'elf on helium' giggle from off stage and a spoken section that veers perilously near pantomime. The track is saved however, by an inspired instrumental passage featuring a very arresting synth lead and some backing choir before the lead guitar wraps things up nicely. Comical 'squirted' little ending chord though (Probably yet another example of this contrary group whipping the carpet from under their own feet)

'Jour apres Jour' - Sorry, nothing to report here 'goat' and 'tiny people' fans. This strikes me as somewhat ironic in intent as it resembles one of those French 'chanson' affairs covered by the likes of Juliette Greco. It's not necessarily bad but despite some beautiful pads, guitar flourishes and flutey synth in the background, the overall effect is closer to quaint than innovative.

'Ode à Emile' - Crusty old Emile makes another entrance and promises more livestock and small individuals soon. Quite a conventional strummed ballad but does have a memorable tune.

'Ego et Deus' - It's something of a relief to inhabit more progressive territory once more after the last two tracks and Ange do not disappoint with a very busy and ever changing piece with an ending that features a tantalizing organ and guitar duet solo cut cruelly short. Some of the instrumentation utilized here is reminiscent of Return of the Giant Hogweed era Genesis.

(So there just might be a song about another vengeful shrub buried in here somewhere)

Very powerful and memorable chorus lads, full marks.

'J'irai dormir plus loin que ton sommeil' - A battle to see who loses consciousnesses first? (I thought that was 'boxing') Ange serve up a stately slow waltz that rest assured, will not have the listener nodding off, but it certainly has a narcotic lulling quality until the explosive guitar enters and rounds things of nicely with an instrumental alarm call.

'Aurélia' - Short, brooding and obsessive ballad that features a wonderful synth patch during the verses, the source of which has been driving me nuts. I know I have heard this very distinctive sound before but cannot recall where exactly? Developmental section fails to really go anywhere alas, and I suspect this track was compiled from those little 'unfinished' bits and bobs that bands have lying around from previous sessions.

'Les Noces' - There's that yummy synth sound again! I love it to bits. More than a heady whiff of the 'Canterbury School' permeates 'Les Noces' particularly during the extended instrumental section that closes the track. Ange also give vent to their healthy sense of humour as evidenced by the various shrieks, oral plucking?, body percussion and coughing displayed here to comical effect. One of the very few Ange tracks that might be in danger of being a tad overlong.

'Le Marchand des Planètes' - Song about someone who sells planets for a living? Very interesting 'throbbing' bass pulse used here which cleverly contradicts the relative 'prettiness' of the harmonic progression above it. Little snatches of Frippian guitar appear here and there through the holes left in a carefully constructed kit pattern that fades out to the end.

So what does it all mean then, about this Jacotey dude?

Well it's obvious isn't it?

Emile was a Parisian goat herder who fell madly in love with Aurelia, but the latter could not reciprocate his feelings as she had to stay at home and care for her adopted Czech dwarf brother Stanislas who suffered from a rare and incurable type of narcolepsy. Eventually, because of Aurelia's selfless devotion to her brother, a magical fairy grants she and Emile sufficient cash to give to a man responsible for establishing a Day Care Centre for the Vertically Challenged and Chronically Sleepy on a recently colonised Neptune and they all live happily ever after.

Another fine and completely impenetrable concept album from our intrepid French progsters.

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Send comments to ExittheLemming (BETA) | Report this review (#169830)
Posted Sunday, May 04, 2008 | Review Permalink
Bonnek
SPECIAL COLLABORATOR
Prog Metal Team
3 stars By the time of their 4th album Ange had solidly carved their own niche of French chanson based symphonic prog. There are still faint echoes of the original influences from King Crimson and Genesis but those are far and few between. Ange had grown up.

Unfortunately the album itself is a bit uneven. It is supposed to be some kind of concept album but it doesn't convince entirely. Bêle Bêle Petite Chèvre is a nice rocking opener but Sur La Trace Des Fées is one of the few moments where they fully get to me again. It's an emotive ballad drenched in mellotron, it's both dark and ecstatic, dominated by Dechamps typical intense vocals. Hammill-haters, clear off!

As much as I love his singing, Dechamps leaves little room for the other musicians to find their own spot to shine on the album. Le Nain De Stanislas has a better balance, but the music still comes off a bit underdeveloped. Jour Après Jour is maybe a bit too sweet but still charming. Ode à Emile is rather forgettable. Nevertheless, if you like this one you urgently need to check out Jacques Brel and other exponents of French chanson.

Ego Et Deus is another one of the rocking tracks on this album. It's not bad but hardly a prog masterpiece. The remainder of the album is uninteresting. I'd say this is Ange's weakest 70's effort together with the ensuing Par Les Fils De Mandrin.

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Send comments to Bonnek (BETA) | Report this review (#250771)
Posted Sunday, November 15, 2009 | Review Permalink
Warthur
PROG REVIEWER
3 stars Opening with "Bêle, Bêle petite chèvre", a harder and more aggressive track than anything on Au-dela du Delire (if you don't count the sinister little marimba and vibraphone breaks), Emile Jacotey sees Ange in a typically passionate mood. That said, whilst the anger conveyed in the title track seems genuine (to my non-French speaking ears), the overwrought vocal delivery in the next two songs seems occasionally forced and self-conscious - always a risk when artists opt for a theatrical vocal style, but it's particularly distracting this time around, possibly because the musical backing is a bit simpler and less interesting than that in the album's predecessors.

Things pick up with Jour Apres Jour, which has more subdued vocals over a warm synth-laden track which reminded me, bizarrely, of Air's more gentle moments. In fact, the synthwork in Ode a Emile also reminded me of Air; perhaps if I listened to more French music I could trace the family tree of influences that led from 70s symphonic French prog to 90s/2000s electronica, just as you can sort of trace a path that leads from Gong's spaced-out Canterbury to today's trance music.

The four-part epic kicked off by Ego et Deus is, to be frank, nothing to write home about. It seems as though Ange are just going through the motions on the proggier parts of the album, whilst the more chanson-influenced tracks are where their heart really is; it's a shame they couldn't find a way to make the approaches work together in harmony this time around.

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Send comments to Warthur (BETA) | Report this review (#340686)
Posted Thursday, December 02, 2010 | Review Permalink
tszirmay
SPECIAL COLLABORATOR
Crossover Team
4 stars It' s a bloody shame that non-French speakers cannot completely enjoy the work of this legendary French progressive paragon and have no choice but to rely on the music alone (which isn't too shabby!) and on the dramatic inflections of Christian Decamps sensational voice , which i agree may be an acquire taste. I for one consider him a prog vocal phenomenon. His theatrical lung augments in value when one understands the deep poetry involved, a heady mixture of surly, sarcastic, seedy, salty, sweaty , ribald, bawdy and at times, nearly pornographic words that underline the band's profound disdain for brutal politics, hypocritical religion and any other form of organized control. I went to a French (from France) school called College Stanislas (hmmmmmm!) in Montreal where I graduated in philosophy and literature and I can attest without hesitation that Christian's lyrical work is absolutely top-notch and worthy of the highest accolades. In fact, they constitute a separate source of gratification all together. Their 70s output is remarkable and inspired, we all know how fabulous the classic "Au Delà du Délire" remains today (in my top 5 all-time for some very personal reasons) and this follow-up is no meager slouch or rehashed by-product. The instrumental backbone is cemented by brother Francis' utterly spooky organ, an instrument so exhilaratingly unique and recognizable (only Soft Machine's Mike Ratledge can claim the same fame with his amazing haunting metallic organ). Furthermore, Jean-Michel Brézovar's sizzling electric and acoustic playing performs judicious leaps and bounds (imagine a harsher-toned Hackett). The rhythm section has a serene sense of "thud", a powerful motor that fuels the fire in Christian's voice.

The tracks are all near classics with inspired performances such as the mesmerizing and atmospheric ballad "Sur La Trace des Fées", easily an Ange high watermark that features a heavenly chorus and the emotionally charged quivering voice of the finest pedigree. There is a definite Genesis circa Trespass feel which is a badge of honor when played this convincingly.

The playfully sarcastic and ultra-theatrical "Le Nain de Stanislas" requires a profound understanding of the dwarf-like lyrics as they blend with the slightly oriental circus style. The spoken part is utterly phenomenal, a technique used brilliantly before on the classic Jacques Brel penned "Ces Gens Là" and later, on the Guet-Apens album's lewd " Réveille- toi". The choir section is equally expressive, like some Truffaut movie soundtrack rendered rock with a Brézovar axe spurt.

The wispy "Jour Après Jour" is the bucolic side of the band from Alsace, the words fully inspirational, French poetry at its musical finest, indeed closer to "chanson francaise" but so what? That's who they are!

"Ode to Emile" furthers the mood, a sweet ode to the elegance of old age, the return to one's innocence with some superb lyrical turns ("When winter fools autumn", "The bogs of your childhood" "Wipe the firmament's behind " etc? ) and the music slides in nicely along.

The acme is achieved with the masterful "Ego et Deus", a brawny prog hurricane lush with bluster, spite and dripping cynicism as expressed by the 'in your face" vocal , all shoved along by a devilish organ, delirious guitar. This song should have been further developed with a massive instrumental mid-section, but that's just me wishful hoping.

Two softies , first the waltz-like "J'Irai Dormir.." is typical French prog, a melodramatic, over the top screech, with tons of contrast and hue, suddenly blasted into smithereens by a slithering guitar solo. "Aurelia" is another Elka string organ driven ditty that relies on sexual imagery that perhaps seems bland by today's standards but in 1976. It was stretching the liberal French censor's patience, to say the least.

The other classic track is "Les Noces" a nasty, anti-religious rant of impeccable irony, launching assorted tirades against the marriage "ceremony" featuring a clavinet-like ripple that evokes Canterbury and not Strasbourg! A country-style section, pickin' 'gueetars' and all shows a great amount of "culot" (gall or balls if you like), proving that these guys like to have fun and "frankly, ma'am, don't give a damn!".

"Le Marchand des Planètes" puts this album to rest on a rather experimental note with strange sounds obscuring the simple melody, scratching guitar and pulsating bass dominate freely, with interesting and original results.

Emile Jacotey won't touch the 3 other classics , adding the stunningly raw "Le Cimetiere des Arlequins" to the other two I mentioned here) but contains some memorable moments on a career that stays vibrant in 2012.

4 perverted minds

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Send comments to tszirmay (BETA) | Report this review (#777299)
Posted Monday, June 25, 2012 | Review Permalink
b_olariu
PROG REVIEWER
4 stars One year passes since their most known album and Ange delivers another worthy release from their vast career. It is time for Emile Jacotey issued in 1975 to please my ears, and what a ride it is for my thirsthy for prog ears. To me this is equal in greatness with previous album, I like it a lot and is my second best after delire. Another fine gatefold cover with an old man who seams to apper breafly with some spoken words here and there on the album. The music has same ingredients and characteristic as previous Ange albums, theatrical dark music with melodramatic vocal arrangements so well offered by the band on each album. For me the best Ange pieces are on this album, like Le nain de stanislas is simply a killer track, everything Ange had best in that period is in this pieces, Jour apre jour is another beautiful tune, Ode a Emile. the more edgy Ego et deus dominates the sound and atmosphere of the album. So, another one of their best releases for sure, to many times being in the shadow of Delire without reason, because thes album is as good as anything they release before. Symphonic prog with a harder edge that will please most of the fans of the genre, even tose non french speakers. 4 stars

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Send comments to b_olariu (BETA) | Report this review (#833780)
Posted Saturday, October 06, 2012 | Review Permalink
4 stars This is the french group Ange's fourth studio record from 1975. The Band was made up by a six men strong ensemble: Guenole Biger, Jean Michel Brezovar, Christian Decamps, Francis Decamps, Daniel Haas and Gerald Jelsch. It is seldom you fins such a theatrical expressivity in the vocals as in this music. I love the vocals and how they drive everything on this record. It is just unfortunately I don't understand french, but it sounds great.This is the first Ange record I review but the third I listen to (after Le Cimetière de Arlequins and Au-Delà Du Délire).

The track a prefer on this plate is those most coherent with the deepest feelings included. "Sur la trace des Fées (5/5)" is such a quite slow song with a prophetic and very dramatic attitude. "Ego Et Deus"(5/5) is a little harder but very catchy. "Les Noces" (5/5) has a driving organ and very melodical guitar almost playing rock'n'roll and ends in ecstasy. Furthermore "Le Nain de Stanislas" (4/5) also is excellent. Sometimes on this record I get a medieval feeling. The theatrical vocals and the ancient sounding composition makes Ange a bunch of jesters entertaining their audience for som swill and mercy. I find their music very attractive. All tracks here aren't very good but over all there is a high quality. For exampel I can't really enjoy the first goat track. This is thus an excellent addition to a prog rock collection.

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Send comments to DrömmarenAdrian (BETA) | Report this review (#951438)
Posted Monday, April 29, 2013 | Review Permalink

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