NOWHERE HIGHWAY

EYE 2 EYE (and no longer EYE TO EYE) known personally since 2006 to deliver a French neo prog of beautiful quality. A fifth concept album recounting the misadventures of a musician in need of inspiration. "A woman in a white dress, bathed in light, walks on the surface of a Scottish loch, the lost muse of the said musician? who is going to drown in the whiskey", come on, I'll tell you a secret, a Drambuie, blended malt with honey from creamy heather like this album; yes the loch, the obvious whiskey. Jack returns to the voice and will plunge us into a dreamlike universe tinged with melodic prog neo-rock and some melancholic touches. A promising return for one of the rare groups mixing the influences of PINK FLOYD and GENESIS on the one hand and ARENA, ARAGON or even CLEPSYDRA or PENDRAGON on the other hand, more recently the progressive universes of LIGHT DAMAGE. Come on, let's dive into the lake.

"Behind the Veil (Ghosts, Pt. 2)" with a Floydian start following a piece from the previous CD, forward sound effects with bagpipes, Irish flute à la "Local Hero"; it branches off onto SUPERTRAMP, think of one of his best compositions as an intro and then a variation on a violin-piano and voice basis; it then passes on a grandiloquent tune with synths and crystalline solo of Bruno's guitar; the progression becomes almost pompous with choirs and violins in a mystical atmosphere but remains very melodic and symphonic. "The Hidden Muse (Ghosts, Pt. 3)" and an aria centered on the guitar thank you Bruno, basic rhyme that will start with neo prog à la IQ or a little ARENA, in short, good, heavy, heavy sensitive but neo innovative; return to the 1st basic tune. "The Choice (Ghosts, Pt. 4)" finally arrives follows with: "i. Strange Battlefield "and a chained who shoots Wallian jousting, combat of voices and instruments; the contribution of Marie-Pascale's violin amplifies the bucolic aspect, I find some of the sounds of Steve HACKETT very pleasant. "Ii. A Light Appeared "continues with a flirtatious sound between a track from" The Wall "and one from ARAGON. "Iii. Ghost's Creepy Voice "and the guitar interlude, its crystalline, airy, spatial sound, sound that could be included in an AYREON CD, very nice song in itself! "Iv. The Fight "continues with a slightly vintage violin-organ drift, it smacks of the 70's and KANSAS albums, even more with this famous GENESIS break, a more cheerful and dynamic instrumental piece; It's simple, it smacks of old tones with a dreamy Mellotron, with a remix of dynamic sounds. "V. No Compromise "and its sung drift, catching up with the Genesisian instruments of the Steve HACKETT period again and" vi. The Silent Shroud "ends this long track with drawer on a ballad air with acoustic guitar, the violin coming to mingle pleasantly in the end, the guitar always in the same vein; quite symphonic and a must.

"Moons Ago (Ghosts, Pt. 5)" with a title where the expressive voice of Jack takes us on the story of this disillusioned musician, metallic and synthetic percussions of the "Duke" of GENESIS, break solo vintage organ from church to the YES bringing a superb guitar solo then return of the magic violin peeping on an orchestral symphonic tune; the slightly scratched voice creates confusion with the creamy instruments, to note this sequence which makes time pass quickly. "Nowhere Highway (Ghosts, Pt. 6)" for the second long track, "i. Princes Street »intro à la Klaus SCHULZE, à la Jean-Michel JARRE, bronx drums, then this bass which really brings me back to« Mouse »of ARAGON; I love it all the more since the phrasing reminds me a little of Nicholas from LIGHT DAMAGE or FISH, haunting voice. "Ii. Emptiness "continues on the same line, hey it also reminds me of the chained and nested parts of the SYLVAN'S at times, the voice excepted; a guitar solo ends this track with a pompous wedding / funeral tune, the choice is yours. "Iii. The Muse's Caress "and its airy choirs bringing crystalline notes from Bruno who reminds me of Steve ROTHERY's solos and it shifts on" iv. Wandering "where I hear the enumerated problem of said musician ... whiskey !, it continues with" v. The Holy Glow "and" vi. Lost in Time "on a variation where the repetitive guitar keeps you going and then the organ. Just to direct you to "vii. Virtual Sunset "and its dark, melancholy title with a heavy atmosphere, an escape from the highway of dreams, of the nightmare he had taken? The end in decrescendo to appease, to meditate on this gripping trip.

EYE 2 EYE has concocted a beautiful concept album with a symphonic richness tinged with neo, some touches of classical, melodic rock opera; an album that smacks of a mix of the 70's, 80's and 90's with a well-updated rhythm, an album which does not reinvent but which polishes the genre by magnifying it. An album that will remind many of the flamboyant side of ARAGON's "Mouse"; a very good success that could have easily entered a top 2020, in short, to listen to urgently.

This concept album, which tells the story of a musician who has lost his inspiration and turns to alcohol, is the fifth from the French group since they were formed by drummer Didier Pegues and keyboard player Philippe Banabes as Eye to Eye back in 2003. They have been the only constants since then, but it is interesting to realise that this album has the same line-up as 2017's 'The Light Bearer', except that the lead singer from that album, Michel Cerron is now a guest providing backing vocals and narration, and Jack Daly, who was lead singer on 2009's 'After All?' has returned (the line-up is completed by bassist Etienne Damin and guitarist Bruno Pegues).

Apart from the slightly accented vocals, one would think this was an American album from the 90's, from the artwork, presentation and logo through their version of neo prog and would be hard pressed to realise this is a new French release. There are a couple of guests who add significant nuances, especially Marie Pascale Vironneau whose violin could have been used even more widely, such is the impact she has when she is involved. The band understand the need for dynamics, but it is the quicker paced numbers where they really shine through, as here they allow the guitars and keyboards to take control, with the middle section of "The Hidden Muse (Ghosts, Pt. 3)" a case in point as there is a huge contrast between that and the strained slower passages.

There are two lengthy ambitious songs coming in at more than sixteen minutes in length, although they are broken up into multiple sections, but for me the band are stretching themselves just too far, and they do not have impact they could have. I am also not convinced of the vocals, as while Jack has a wonderfully emotional style, it does not always gel well with the music underneath, and there is a feeling that we are very much in the early 90's and bands from that movement when they were just starting out as opposed to a group who have recorded five albums. An interesting and fairly enjoyable neo prog release, but not essential.