ANGEL'S PROMISE

Edhels their third CD entitled Still Dream is one of my favorite French prog albums, it sounds so unique and compelling. I was a bit disappointed about other albums Oriental Christmas (1985) and Astrological (1991), I missed the tension and captivating work on keyboards and guitar. Six years later Edhels delivered a new album, I remember that I was very curious to their development after so many years.

Well, Edhels still sounds original on this album, most of the 13 compositions are instrumental with a modern keyboard sound, strong drums and lots of fiery guitar play by Marc Ceccotti and Jean Louis Suzzoni. I am delighted about the tracks IQ 27 (a bit exotic percussion, biting guitar and strong vocals), Guinevere's Regrets (cynical female vocals, a strong beat and lots of interesting parts), Lights Being Messages (splendid guitar with howling runs like Hackett), Life, Life (beautiful duel acoustic guitarplay) and Gentle But Not Giant (Pandora's Box of percussion and keyboards). But in some other tracks the sound is a bit too smooth and Ceccotti tends to repeat himself. So in the end Edhels fails to keep my attention during the running time of more than 70 minutes, with less it could have been more. Nonetheless, this CD contains lots of interesting ideas and some exciting moments.

Here we are far from the great 'Oriental Christmas' the synth sounds are very dated and a strange taste for progressive rock. Fortunately, the guitar is level on "The Lord of the Fire." "Tension" is a title well done, very soft in the tradition of the best 'edhel. On "Iq 27" can be heard singing "edhel" To my great surprise, the song is really disappointing, singing in English to a group of Monaco, which makes it an accent really intolerable. The title 'Angel's Promise' is a beautiful title. "Guinevre's Regret" is a title very badly orchestrated, bad singing, bad sound, very disappointing, regret it so sacred. "Noah's Ark" is a title rather painful ... The next "On the borderland of sleep is also a wolf." Lights being Messages "is somehow the best of the group if one compares the other tracks on the album." Tales of Mr. K "is still sung, and c It is a disappointment once again uen. "Life, Life 'n dansu different kind, air, acoustic, closer to nature sounds." Gentle Giant but not "as unpleasant. The group nevertheless managed to raise the bar against the previous album which was a disaster 'Astro-Logical ". "And to think that I loved you so much" is a very good title to what the group is still. "Visions and meetings" thus closing the album on a good note.

The last album of the 20th century from the Monaco-based Edhels took the liabilities of their flawed 1991 "Astro Logical" album and turned them into virtues. The band's icy digital sound hadn't thawed in the previous six years, but this time they used it to their advantage, as heard in the potent opening rhythms of the album's kickoff track, "The Lord of the Fire". And the writing was more sensitive to instrumental color and melody, recalling the band's popular "Still Dream" album, recorded a full decade earlier but even now a career peak.

The addition of vocals is a bit of a shock, however. The instrumental music of Edhels was never geared toward actual songs, but the singing here is at least weird enough to add a not-unwelcome sense of cognitive dissonance. Check out the mock-heroic "Guinevre's Regrets", in which Arthur's queen delivers a backhand slap across the face of courtly chivalry: "Instead of cutting off dragons heads / You should have cut off your own / Bloody Lancelot of Camelot / Rot in hell, forever..." Take that, Thomas Mallory!

The oddball song interludes (all of them odd-numbered tracks, by the way) make a half-hearted effort to swim into mainstream waters, but the riptides of Marc Ceccotti's compositional eclecticism are a little too strong. From the lush Neo-Prog bombast of "On the Borderline of Sleep" to the idiosyncrasies of "Gentle But Not Giant" (take that too, Derek Shulman!), this is a collection of music dodging all over the Prog Rock map.

It might have been more effective as an unplugged effort, as suggested by the delicate acoustic guitar of "Life, Life". And with a total running-time of 70-minutes, be prepared to accept a little padding. Tighter editing might have revealed the four-star gem hidden somewhere inside it, but as it stands the album marked a welcome retreat toward a less clinical, more accessible style.