LAZ

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With Laz Halloween issued its second album in 1989 and this turned out to be a far more ambitious project than the debut album. The lyrics of the record were centred around the fabulous works of H.P. Lovecraft. Lovecraft was known for his mysterious stories which can be classified both under the horror and science fiction/fantasy categories. Like one could expect the atmosphere on this album varies from mysterious to sinister ; dark in either way. Halloween illustrates the sombre moods by using beautiful keyboard parts that are typical for the eighties era, fortunately it doesn't sound dated. Sometimes the keys are reminiscent to the sound of both Tony Banks and Mark Kelly but in other fragments the keys sound pretty spacy. The fabulous violin parts of J.P. Brun adds the emotional element. The varied percussion help to emphasis the most bombastic elements. Unlike other progressive albums, the bass parts have an important role in creating a mysterious mood. It even delivers the main melody line for "just for you". One of the highlights of "Laz" is the atmospheric and moody "Yule horror". On this track, the tension builds up slowly with hypnotic repetitive keyboard & violin parts and excellent varied percussion. The atmosphere that's been created this way must be one of the most captivating I have ever heard. In the final part, you can actually feel a strange light gradually appear through the darkness when a majestic keyboard part enters the scene. A moment that gives you shivers down the spine. The second part of the album shows the more complex side of the band. The spoken word vocal of "Suburb" has some similarities with Ange. The vocals consist also of a spoken word monologue in French language. On the other non-instrumental tracks the vocals are in English and this is the weak element of the record. The vocal lines aren't really melodic. For the most part they don't add much more than the stories of Lovecraft. This enables you to notice the adaptation from words into fabulous musical atmospheres. Moreover the vocals suffer from a terrible French accent which can't be denied. On a wonderful track like "Iron Mickey" one realises this band doesn't really need vocals to create a great mood. Here the many layers of keyboards are combined with fabulous guitar & violin parts and virtuoso drumming. The symphonic atmosphere is compelling. More than once, it reminds me on Camel's "Lunar sea".

All in all, a very strange record that's hugely interesting. Even though the musicians are virtuoso, the sinister moods and the interesting lyrics fascinates the most. Moreover the album has a very good production. If you can get your hands on a copy of this album, check it out !!!!

"Laz" is like some of the outer gas giant planets in our solar system - all atmosphere and oppressive gravity, with a lifeless core. Curiously, this album evokes the worst of the overrated "Halloween" by Pulsar. If Halloween (the group) did take any valuable cues from their 70s ancestors, and that is questionable, they might have at least wanted to leave behind the wretched melodramatic wails that have strangled many a promising French prog band for over 30 years. Unfortunately, they have upped the ante by providing some of those grating voices, and even growls, in heavily accented English, such as in "The Wood", but even in in the Francophone "suburb", it is lamentable. The sung parts of the title track also have a certain seductive charm, but they are surrounded by barely musical passages and more rants.

Musicianship is strong, including a few imaginative violin solos, and the arrangements aren't bad when they can be perceived dwelling beneath the ubiquitous harsh cloak, but the album really doesn't contain any songs or compositional works, and is far too dissonant to be called symphonic. It strikes me that fans of jazz and fusion styles would not necessarily be that impressed with the improvisational level either, so we really have a lose-lose situation. Very little here is memorable or makes me want to listen again. Even as accompaniment to eerie science fiction or horror films most of this album would be too obtrusive to be taken in context. An exception is the bass-led instrumental "Just for You", which really brings something unique AND listenable to the table.

I am sure there must be an audience for this type of music, but I bet it's small in number and tending to be people who avoid the light of day and enjoy driving their parents crazy with nasty sounds wafting up from the basement. Otherwise I cannot recommend it at all.

Even if the core duo (Coppin-Brun) is still present on this album, there has been two changes in the line- up for Laz. A strange title for this work. Most of the lyrics come from the work of the American novelist Howard Phillips Lovecraft (four of the songs featured here).

The music is also strange, weird actually. This band was first catalogued into the symphonic genre which fits them better as far as I'm concerned. Halloween plays a dark, gloomy and scary music but this has little to do with the heavy genre.

This second album is also far to reach the quality of their debut. The overall feeling is of an oppressive and emotionless album. As a soundtrack, it might have worked, but when you listen to this album some sort of boredom quickly prevails, unfortunately. The quiet instrumental Just For You has definitely not a lot of great ingredients to make it an outstanding number.

The well named Yule Horror is not really recommended to listen to if you are alone, at night during a windy storm. It might well work on your nerves.Sombre vocals are not a highlight, but this was already a weak point of the band in their first release.

There are hardly one outstanding track on this album. Some fine violin parts provide some relief (Iron Mickey) but doesn't break the dark feeling. On the contrary, it sounds as if the band was willing to frighten the listener even more.

On the CD release from Musea, there is a bonus track called Suburb. Lyrics are in French but are referencing to Howard (Lovecraft). They are pretty weird and quite disturbing and refer to Yule Horror. It was recorded during the Laz sessions but never released before.

In the booklet, lyrics are translated into French (with very much imagery). You won't need the assistance of these during the instrumental Blue Nightmare (I didn't choose the title). This track was composed by Di Faostino (the new drummer) and is very much a percussion exercise which has very little to offer.

This album is quite a deception, it could have been a decent soundtrack for a B-series horror movie, but I can't really be thrilled with such work. No heavy prog here, just dark and scary music. Which is not the same. Two stars.

1989 and Halloween arose as a regular band with the addition of Philippe Di Faostino on drums in the place of Thierry Gillet and Yann Honoré on bass.They entered again the Studio Bleu in Bevern to record their sophomore album ''Laz''.This time though the producer was Francis Grosse, the boss of Musea Records.Originally the album was released in 1990 in LP format, followed by a CD reissue 4 years later with the extra track ''Suburb'', coming from the same sessions of the original album's recordings.

The formula used was about the same with ''Part one'', a challenging, deeply atmospheric Symphonic Rock with light Fusion overtones and plenty of dramatic moments, either offered through the irritating violin plays of Jean-Philippe Brun or the orchestral choirs and keyboards of Gilles Coppin, particularly strengthened by some theatrical vocal lines.Play by play Halloween start to remind of the more haunting and occult French Symphonic Rock groups like SHYLOCK, ATOLL or CARPE DIEM, though their sound suffers from this 80's-styled production and the heavy use of synthesizers.The first side of the album is the strongest with a couple of impressive, rich and powerful tracks full of violin moves, soaring synthesizers and deep orchestrations, having a depressive and haunting atmosphere.The second side is a bit excessive and largely instrumental, based more on atonal textures and experimental synthesizers, flirting at moments with Avant-Prog, although there are still moments of pure pleasure with the soaring violins, the Classical interludes and the bombastic rhythm section in the forefront.Unfortunately a few moments appear to be rather uninspired with long instrumental but quite monotonous movements as in the pale ''Blue Nightmare''.

The good thing with ''Laz'' is that the moments of interest are too interesting to surpass the album.It sounds a bit uneven and too ambitious for its own good, but this is very original and often trully captivating music.Recommended.