CONTEMPLATOR

"Rite of Shards" solemn, latent, depressive-melancholic intro of great beauty, a bit on the BOF 'Les Aîles du Désir', majestic violin, we are on chamber music à la MORTE MACABRE dark and post-rock; mid-course explosion on REGARDE LES HOMMES TOMBER without the voice of course, bass à la HARRIS, à la SQUIRE very present and flight of keyboards for a jammed neo-prog drawer; break in a contemporary classical music atmosphere, it abounds with ideas until the dithyrambic crescendical finale and the violin to conclude in a burst of generosity, musical relaxation. "Vestigial" makes me think of a synthesis of the frozen universe of ART ZOYD with the cinematic space currently in vogue; soaring layers of keyboards and presence of the bass as a guiding thread, contribution of the jerky djent guitar for a moment for a singular jazzy heavy post prog title, while reminding me from afar, up close of the atmospheres of Devin TOWNSEND, surprising what. "Ephemeron" with a heavy, heavy, catchy and slightly hypnotic riff; basic mix on dark rock intonation, airy synth break, jazzy limit à la ZAPPA in its unique musical drifts; it goes up, it breaks, it lives, it's very strong, nervous and heavy. "Ashes Swallowed" is perhaps the strangest title with an unprecedented association between rhythmic metal and violin declination, a bit of bass à la Tony LEVIN, heavy sounds of unhealthy ARS NOVA, short but punchy title.

"Zero Mask" a nod to the pandemic and this cruel lack? I can not believe it. Solemn intro then a dark universe going from ZAPPA to KING CRIMSON for the melancholic side; the synth wants to be hovering allowing to send you in an astral journey where mushrooms explode like this drums; musical fusion with synth reminding me this time of the GENESIS of the 80s then the synths of RUDESS before coming back to the heavy dark sound. "Hollowing the Flame" its convoluted, yes I like to write it when it goes into several musical drawers; between heavy and dark prog, between fusion and dark, between musical madness and bucolic passages like this refreshing Austin accordion and this Marxophone from elsewhere; choppy bass with memories of YES and its bass player, in short twirling. "The Catch" always full of vitaminized musical sap and a more romantic declension so as not to fall into the spleen with violin; it's still very heavy, says my girlfriend who passes by and gives me big eyes; so the metal tag is well forward away from the post current of the start; a dynamic and energetic groove, furious! "Idol Obedience" continues or continues on the same plot to the point that I thought it was just a break; it calms down a tad to let the tempo plunge on lugubrious, icy atmospheres where the piano matched with the striated guitar makes its charm; well the heavy metal prog djent returns and seems to run at a gallop on the last minutes of this electric title where the bass delivers its last cartridges.

CONTEMPLATOR releases this album 'musical melting pot' bringing a holistic approach to different genres and giving itself no constraint, a double-edged trap smoothly led finally. Christian PACAUD helped by his acolytes delivers sound in its raw state where the reminiscences of the groups mentioned are more markers in the state than real influences; he manages to amalgamate metal, guitars and violin, heavy and hovering riffs, groovy and jazzy atmosphere, modern djent tunes at times and dark heavy to make you travel on his unique personal ideas; he is in this sense a progressive musician of the 21st century freeing himself from the dinosaurs to offer a fresh, modern and inventive updated sound. The morphosis risks taking you into a new musical register sweeping away all your values ​​of the prog spirit.