LITURGIES CONTEMPORAINES

[Originally published at The Progressive Aspect]

The French prog scene is one I think is often overlooked and underrated. For sure, when it comes to the "classic era", and the almost symphonic form that is often the first thought of many when it comes to how prog sounds, it tends to be the British prog bands that are the giants everyone knows. Outside the UK, in that "classic era", the Italian prog scene is highly revered, and there are still Italian bands today mining that uniquely Italian appropriation of the preceding British prog sound and style. In recent times, the Scandinavian countries are seeing a loyal following grow and grow. Yet, France has always been there too, and so much of the prog I love is French, particularly within the last two decades. The one band that many will first think of, when it comes to French prog, is probably the mighty Magma (for good reason, as they are superb).

But quite apart from the Zeuhl scene, which was (at least initially) a predominantly French phenomenon, in the "classic era" there are plenty of (relatively speaking) well-known acts such as Ange, Atoll, Mona Lisa, Orion, Pentacle (even if they released only one album), and Pulsar. Not to mention my favourite Canterbury Scene band is not from Canterbury at all, but from France: Moving Gelatine Plates. Zeuhl wasn't the only avant and out there French music that made waves internationally, as some "classic" RIO/Avant artists are also from France, such as Art Zoid and Etron Fou Leloublan. And all this is without getting into the more modern era, where a number of French acts are incredibly influential in avant, experimental, eclectic and prog metal sounds - ever originators of new styles, as they have been since Magma sent out their first transmission in Kobaïan. And for those who prefer prog in the more traditional sense, there are still plenty of great bands that are still in the realm of the more symphonic and neo sounds.

Now I would be the first to admit that I'm really not a big neo-prog fan. There is far more music that doesn't appeal to me at all labelled thus than music that excites me. There are, always exceptions. One of those exceptions in recent years has been Nine Skies, featuring the husband and wife team of Eric Bouillette and Anne-Claire Rallo. But my favourite musical contributions from Eric had been since he joined Nova Cascade. I was initially wary, even though I knew him from Nine Skies, simply because I had enjoyed Heather Deane's violin playing (no matter how small a contribution it was) on the debut Nova Cascade album. With Eric coming from a seemingly different musical background, I admit I was unsure how much his input might change the sound of the group. I needn't have worried as both Nova Cascade albums with Eric have been incredible, and I can look forward to hearing him again on the upcoming fourth Nova Cascade album.

But, you will have noticed, I'm sure, that I wrote "had been" and not "have been". And that is because Eric has simply blown me away with the new band he and Anne-Claire have put together. I have had to rewrite and rewrite this review, because I don't wish to be hyperbolic, but it truly feels to me that Solace Supplice's debut album, Liturgies Contemporaines, is superlative in every way! It takes everything I love about French prog and distils it into a perfect package. While there have been several albums I've listened to this year that I've recognised are likely to be among my favourites when it comes to the end of the year, Liturgies Contemporaines is the only release I've listened to in 2022 that strikes me that it will be my overall favourite album of this year. Not only that, but it may well be my favourite French album of all I own and have heard. I'm aware that, even though I've been listening to the album for some time now, there will still be a certain degree of recency bias - but, honestly, I can see me still loving this album for years to come.

My favourite French band, until now, has probably been Jean-Pierre Louveton's Nemo, but Solace Supplice take everything I love about Nemo and do it better. That's not to say they sound that much like Nemo, but both bands take the sounds of some of the "classic" French prog bands I mentioned earlier and give them a modern, edgy, eclectic, and sometimes quite heavy sound. In terms of modern French prog, I'm also sometimes reminded of Lazuli - and if you're a fan of either Nemo or Lazuli, I think there will be a lot for you to enjoy in the music of Solace Supplice. Liturgies Contemporaines never sounds like either of those bands, but they have the same atmosphere and dynamics, only - dare I say it again - better. The bulk of the arranging and composition of the band's music comes from Eric, and while many will be familiar with his guitar and violin playing, I imagine most will be as surprised as I was to hear him sing. Eric has a wonderful singing voice, full of emotion, that is absolutely one of the greatest highlights of this debut album.

But just so it doesn't look as if I'm giving all the credit to Eric, I have to say that is absolutely not the case, because joining Anne-Claire, the rhythm section of Willow Beggs and Jimmy Pallagrosi is astounding. Both names are probably well known, but I had not heard Willow play before - and I absolutely love what she does. Her bass is thick and heavy and full of heft, yet incredibly nimble and deft. I might come in for a lot of flak for this, but I prefer her playing to that of her father! Anne-Claire's playing is perhaps more subtle, but no less pleasing. Jimmy has always been an impressive drummer, so it won't be surprising to hear that he's great here. But what I really like on this album is his restraint, and what he doesn't play. He uses space a lot, and it is quite impactful. Then there are Anne- Claire's keyboards, that simply flow over everything - sometimes in gentle waves, and sometimes in great washes of sound.

Anne-Claire also wrote the lyrics, but as I am not at all fluent in French, I have no idea what is being sung about. For me, this doesn't matter. Even when someone sings in English, I tend to pay little to no attention to the lyrics. The voice, for me, is simply another instrument in the mix - and, while I'm sure that what Anne-Claire has written is very clever and conceptual, it is the manner in which Eric sings it that I find so affecting. Likewise, his guitar tone, which is breath-taking at times, and as emotional as his vocals. Eric has pulled out all the stops to make the record of his life, and (while I sincerely hope it is not the first and last Solace Supplice album) if there is never a follow-up, he can be very proud of this album. As can Anne-Claire, Willow and Jimmy. We're only halfway through 2022, I know, so there is plenty of time for something else to affect me as much as Liturgies Contemporaines has, but I find it hard to imagine that something will. I'd like to think that come the end of the year, I'll look back to this review and find that I was right to predict this release from Solace Supplice as my favourite of the year.

Some might call it a childhood obligation to obey my parents wishes, but I was gung-ho from a very early age, learning multiple languages simultaneously (Hungarian at home, English neighborhood in Montreal and French (France) private school to start, later picking up Spanish, Portuguese, German and Italian with weekend tutors). Needless to say, it helped me enormously to build strong relationships with a wider audience than most unilingual people. So, when progressive rock in the early 70s went Italian, German and Spanish/Portuguese, I had absolutely no difficulty whatsoever enjoying the lyrics to the fullest. Lucky me, indeed. I feel for those prog fans who cannot fully appreciate the immense genius of Ange (Christian Decamps had some tremendous lyrics as well as a mesmerizing vocal style) and all its offshoots (Atoll, Mona Lisa, ?). While English is a powerfully vivid global language, French is even more dense in its precision and way more emotionally charged, which is why translations of one English page generally required a French page and a half! Plus, Shakespeare had three French counterparts in Moliere, Racine and Corneille. But that is for the History Channel, on to la musique.

Getting my hands on Solace Supplice was a smooth and rather comfortable ride, also due to knowing the talents of multi-instrumentalists Eric Bouillette (Nine Skies, Nova Cascade etc..) and the delightful Anne-Claire Rallo (with whom I probably share a Baccalaureat!), whose Bad Dog Productions has sent me lots of suggestions in recent times. This album is what French contemporary prog should sound like, very much in the same vein as Jean-Pierre Louveton (Nemo), Lazuli, Magnesis, Esthesis, Monnaie de Singe, Orion, Motis, Gens de Lune, Children in Paradise etc?

So, speaking of Moliere, the opening track "Le Tartuffe Exemplaire" kicks off the album with a BBC snippet morphing into a wicked Jimmy Pallagrosi drum beat and Nick's daughter Willow Beggs on bass keeping terrific pace, as the rambling Bouillette vocals theatrically evoke compulsive behaviour, scandalous and vile, in the finest Gallic tradition! His wicked guitar solo only adds to the exaltation. Blistering track of the finest Grand Cru. "Sunset Street" maintains the morose tornado of sound, relentless, the playing and singing are obsessive and yet very creative, swerving like a Paris driver in rush hour traffic. Then, a melodious world where chirping synths, trembling bass, a slashing guitar, a shifting beat and a slick voice unite under the banner of "half-pained" lyrics combine to trap one's interest and never let go. Needing to continue on a track-by-track basis, suffice to state that all the remaining tracks seek to uphold an uncertain sense of despair, as the subject material leaps from pain, watchtowers, cosmic adultery, paranoid schizophrenia, and circus of souls to leading the charge of the hussar cavalry, the devil's diaper (that is quite the vision) and slumping decadence.

"Les Miradors" (the Watchtowers) exudes a sad reminder of a Kafka-esque universe where people are forcibly caged in by heavily armed border guards, haunting choir work propelled by a frenzied percussive attack, this would have fitted nicely with a 1980s video of the Warsaw Pact 'defending' its citizens by inverting their weapons inwards. Anne- Claire shines on bass and keyboards while Eric simply offers deliverance on his axe. Amazing track and my favorite here. The music is mostly dark, brooding, occasional frantic, but seemingly always anxious and harrowing. There are nevertheless interspersed moments of reflection and calm, such as the majestic "Cosmos Adulterin" which still keeps a symphonic bombast in its conclusion, with some stunning instrumental displays and the equally hypnotic "Schizophrenie paranoide" where the drums and effects are simply otherworldly.

The musical merry-go-round on the carnival-like "Au Cirque des Ames" is heroically efficient, with a swirling violin leading another compelling voyage into the absurd, Anne-Claire's acrobatic piano work and an elephant march from the rhythm section, as the clown trips over himself in the illuminated sandbox. It's far from funny as this circus is a serious act. The last three tracks simply close the deal with more exploratory displays that rigorously keep the existing focus on mood and atmosphere. Spectral and misty, the vocals whispered when needed, angry when not, the guitars scorching and scalding and the rhythm volcanically eruptive. The solemn dirge of the final track sums this beast succinctly, a purposefully hesitant vocal that transfixes the listener, as a twisted violin and drone piano sets up a colossal electric guitar solo, full of verve and vinegar and unchained rage, as a synth lead elevates this into a paroxysm of delight.

The crisp sound, the impeccable playing and the overall feel of this album is a true wonder, like pages from a gripping book, each chapter an enticing adventure into musical originality. Take a leap of faith and explore something unusually different, no one will be left disappointed by these modern-day rites by a highly accomplished band. Obviously, the quality of the music reigning so supreme, the French speakers will undoubtedly enjoy the lyrical content but if non speakers want to really get into it, perhaps getting the words translated into English might elevate their enjoyment even more, after all, the band did put in the effort, fans can do some as well.

Easily a top contender for album of the year 2022. Not a weak second to be found.

5 Future Rituals

A new prog project by Eric Bouillette and Anne-Claire Rallo of the French band Nine Skies, SOLACE SUPPLICE is going the route of many non-English speaking bands and that is adopting their native tongue for their lyrical delivery. English has for better or for worse become the common tongue for virtually everyone on planet Earth in the 21st century and while it's actually quite beneficial to have one language that bridges the gap between all, let's face it. Any language lacks certain characteristics that any other possesses. This is particularly true in the rhythmic delivery department of the musical world. Not that the French language has been ignored in prog circles but when considering the French world's most successful band Magma ignored Earth languages and invented a new one, it's always refreshing to hear a new band stand its ground in the linguistic department!

This band features four members: Eric Bouillette (vocals, backing vocals, guitar, keyboards, violin), Anne-Claire Rallo (keyboards, bass), Jimmy Pallagrosi (drums) and Willow Beggs (bass) with guest saxophonist Laurent Benhaumou on "En Guidant Les Hussards." This is an interesting mix of classic symphonic prog French bands such as Ange along with a modern take on darker, heavier music that amplifies the guitar, bass and drum rolls without sacrificing the ethereal symphonic qualities of the keyboards, vocals and overall atmospheres. What's also cool is that every song is sung in the band's native French which in the prog world has played a back seat to the English language for prog's entire history.

LITURGIES CONTEMPORAINS (Contemporary Liturgies) is this band's debut album and features 11 tracks just missing the 49-minute mark. Exclusively en français, the lyrics will escape all but native French speakers however many of us don't give a rat's ass what the hell lyrics are conveying. We love music first and all that other mumbo jumbo is secondary. At least i speak for myself! This album is a strange mix of upbeat symphonic prog sensibilities and darker cloud covered lugubrious prog rock in the vein of gothic rock. The music is very accessible and also features a sort of 80s new wave easy on the ears quality. Power chords and snappy key runs add some addictive ear worms as well as some folky musical scales and stellar production. There are also some circus music moments that add a bit of funhouse moments but rare. There's also a tinge of Middle Eastern folk music lurking beneath the surface.

Well?.. i have mixed reactions to this album actually. Musicianship great, as well as gloomy execution in the production department. I guess what really keeps me from hella-luvin' this album is the fact that lead singer Eric Bouillette is on the lower register and pretty much delivers a monotonic vocal performance for the entirety of the album which unfortunately means the entirety of the album stagnates in a single mood despite the instrumental diversity. It seems the project wants to present itself as a dark deep dive into the world of depressive prog rock but doesn't quite do it in a way that is convincing. The upbeat nature of the Depeche Mode like electronica with the various elements of Pink Floydian space rock and Ange like symphonic prog doesn't quite gel over the long haul.

Musically great album but if you want more variety in the vocal department (no matter which language) then this album will disappoint a bit as it did for me. I mean vocals are supposed to be an instrument (albeit with linguistic meaning for the most part) and when the lead singer is basically half-singing and half-narrating for the entirety of an album's experience then i just can't jive as much as i would if the singer performed exquisite vocal acrobatics. Even depressing singers can deliver outstanding performances. Perhaps i just don't like the tone of this album as much as others. When i think about other monotonic singers i can fall in line but this one doesn't quite do it for me. Oh well!

3.5 rounded down