THE PATH

As the world of prog rock sallies forth well into the 21st century there have been a few trends in this niche world within the larger rock universe. After the heyday of the 1970s when the genre came into its own and generated some of the best bands that experimental forward thinking rock has to offer, the decline and resurgence has meant that either bands need to retread past glories in full retro regalia or find new ways to experiment, innovate and incorporate hitherto unthinkable disparate genres into its mix. 
While prog started out as a mere rock music cross-pollinating with Western classical, jazz and ethnic folk music styles from across the world, generally speaking it has done so only to a certain point before putting on the brakes before pushing the limits beyond the reach of the average listener's accessibility point. Of course there are rarer examples in the past where no holds were barred and anything went in the name of an unrelenting musical holy grail to be discovered but generally these ambitious bands reached only a small similarly minded audience that more often than not only attracted other musicians.

Now in 2023 we are experiencing all kinds of new bands expanding the limits of prog and often blurring the distinctions all together between rock, classical, jazz and world music. LIGHT is one such band from Toulouse, France that has taken an adventurous road into orchestral music that is roughly equally divided into a large classical chamber orchestra, a jazz ensemble and rock band. LIGHT (which by the way is an awful name in the internet age as there are literally dozens of bands with the same name and a pain to find through search engines) has released its debut album THE PATH which pretty much takes prog to the next level in regard to seamlessly fusing with a rather third stream mix of jazz and classical and also incorporating a large dose of ethnic flavors.

This project is led by the indefatigable Camille De Carvalho who alone plays the following instruments: piano, Ondes Martenot, Korg CX3, Clavinet Pianet Duo, Berhinger Model D, toy piano, vibraphone, marimba, glockenspiel, melodica, Suzuki Andes, clarinets (sopranino, soprano, alto, bass, contrabass), oboes (oboe d'amore, english horn, bass oboe, Bassoon, tenoroon, saxophones (sopranino, soprano, alto, tenor, baritone), duduk, guanzi, hulusi, bawu, trumpets (piccolo, soprano, bass), flugelhorn, cornet, trombones (soprano, tenor), French horn, baritone horn, tuba, ocarinas (soprano, alto, tenor, bass, contrabass), recorders (sopranino, soprano, alto, tenor, bass), gemshorn, racketts (bass, great bass), cornett, Morin khuur, erhu, theremin, musical saw, garrahand, waterphone, udu, tam-tams, opera gong, hand gong, lunar gong, burmese gong, vibraslap, jingles, bells, guïro, triangle, bongos, temple block, ocean drum, tambourine, thunder box, claves, shakers.

At least that's what the credits say on the Bandcamp site! In addition is a large vocal choir as well as several guest musicians that in total adds up to about 24 individuals participating with a total of 112 instruments. THE PATH is a tough nut to crack and not for those with short attention spans. This album sails comfortably past the 77-minute mark and takes a good deal of time to warm up before anything resembling rock music really kicks in at all. The opening "Seekness" alone clocks in at over 14 minutes and is really just a warmup to set the mood with a slow tension-ratcheting droning effect that is augmented by slow electronic and instrumental progressions. The album flows like a single track with each one ceding into the next. The classical aspects slowing metamorphose into jazzier excursions but it's more like an exercise in third stream fusion as the two genres never really become independent.

It's not until the fourth track "Blue Sun" that the simulation of rock music beats through the classical instrumentation really breaks through at all, a good quarter of a way through the album's run. Many of the tracks serve merely as interstitial connective segments which allow smooth transitions and although there are some lengthy tracks, many are well under two minutes in length. "Blue Sun" is really where the prog rock elements kick in with a steady drumming presence, a groovy bass line and a swinging rock and roll type of digestibility however it doesn't stop the other classical instruments from joining the party and whizzing around with freelance counterpoints. At this point it starts to sound like some sort of zeuhl experiment, one that Christian Vander would be conjuring up somewhere else in the multiverse. Add some ethnic Middle Eastern flavors and its party time! This is the track that also introduces lead vocal lines bringing the Magma comparisons with a gypsy flare into full LIGHT.

"Tibia" signifies a complete change as if the entire band had been transported to the Sahara desert to experience a strange musical mirage. This short track signifies a mood shift and with "Betray" the style changes into a vocal jazz-rock session, something like a more sophisticated take on Nina Simone or Billie Holiday but then shifts into a super proggy instrumental sequence with oddball time signatures with the vocals sticking around. "Newts" changes things up with a piano roll that reminds me of something from 1970s Elton John only accompanied by a series of wind instruments. Like many of the tracks this one sprawls on way to long and seems aimless in its execution. "Electris" is another short interlude with a spaced out atmosphere and haunting choral vocals then for something completely new "The Sublimation Of An Oak" takes on a Celtic folk festival vibe.

After the one minute and twenty three second drum solo piece titled "Tympana," the second longest track "Dive" dominates the second half of the album with a haunting multi-choir tapestry of vocal parts and a nice light breezy jazz-rock backing. In some ways it almost feels like a more orchestrated version of the Swingle Singers only with a lighter breezy feel in the vocals. The track slowly morphs into a classical chamber orchestral piece especially after the vocals drop out and create a more ominous mood after the spaced out giddiness of the beginning. Almost a Holst like effect from "The Planets" works. The track gets more bizarre as it closes but at the last minute reverts back to the haunting vocals that began it.

Following is the short "Chalemnia" that serves as another light instrumental mood shifter followed by "Mesmerize" which offers a deep piano bass groove and a rather Canterbury jazz sound not far from early 70s Soft Machine. The track remains all instrumental and serves as a second interlude. "Burning Birds" is the last long track at over 7 minutes. The piano run takes a good two minutes to warm up and morphs into a bizarre dream pop like vocalization with jazz instruments and a pop piano roll. This track is ultimately unsatisfying and seems fairly unnecessary actually. It's like an underwater siren is singing to a orchestrated post-rock band above the water. The track never really goes anywhere at all. The ending track "Lux Aeterna" focuses on a series of choir arrangements that last over three minutes. Sounding something like the vocal styles on Philip Glass' "Glassworks" era, the track is impressive but ultimately lacks substance to base the vocals around.

THE PATH is a mixed bag really. On one hand it's hard not to be impressed with the passion, enthusiasm and ambition that went into making this album. There are many brilliant innovations that further the visionary possibilities of jazz, classical and rock but at the same time this act forsakes one of the most important elements in making a magnificent recording and that is one of editing. Yes, the album is way too long for its own good and would have benefited from chopping itself in half. Another aspect this album lacks is continuity. The tracks for the most part are brilliantly performed but seem rather haphazardly thrown together. The sums of the greater whole are polished like a diamond but as a whole enchilada this album is indeed rather aimless in its greater vision and suffers for it. Many ideas sprawl on past the point of usefulness and many ideas are just awkwardly inserted for no apparent reason. This is certainly a great album to experience at least once but i'm more excited to hear this musical ensemble in the future after it matures.