MOONSHINE BLAST

A talented and young French band , Moonshine Blast has made a quantum leap forward in their short career, as their debut 2018 "Reality Fear" certainly showed a lot of promise, mixing modern progressive workouts with more pop/rock tendencies, a common occurrence with inaugural releases. With this album, the foursome rightfully and confidently shored up and tightened their focus, with a more linear style that, frankly, blew me away on first listen, talk about maturity! The quartet has keyboardist and lead vocalist Nicolas Duke shining throughout , Gabin Rock handling the electric guitar chores as well as backing vocals, all held together by a robust rhythm section of Renaud Lyabastre and the impeccable syncopation of Thomas Zecchinon. Any band getting support help from such luminary legends as Colin Edwin and Pat Mastelotto is a stamp of approval that should never go unnoticed. Obviously, the tracks have familiar influences that jump out at the listener, being easily detectable, so I won't bother mentioning them, just think of a stranded volleyball. A dozen tracks spanning 75 minutes, 'wait for the ricochet'. Note : both Moonshine Blast album covers are absolutely stunning , this one especially so.

The title track sets the tone, the key feature of most prog albums, a four-minute rumble into the intensity of muscular rock music, the guitars and drums in perfect unison, Duke's piano adding a tertiary alliance, giving the moody piece a tremendous amount of throttle and thrust. Gabin's whirlwind solo only accentuates the immediacy of a fantastic chorus, built up by ever-elevating verses that, all combined into a solid mass, just seals the deal. As tasty as that was, wait until you feast your ears on the spectacular "Cruel Immission", a world-class ambiance that spotlights a sure-handed piano and a vocal that would consecrate the 'dread of any empty sphere' (synonym time!). The initially forlorn mood eventually develops into murkier realms, the Gabin fretwork in particular rasping like a turbo charged engine in furious mode. The 7 plus minutes could have gone on much longer, it was that entrancing.

Panting vocals are not always well rendered, but on "Only You", the contrast between the chaotic wordings and the smooth as silk chorus is pure genius. A catchy, in your face, radio-friendly and toe-tapping tune that comes across as a statement of maturity in confidence. It's also to the point and brief.

Influences really step up to the front of the stage on "No Exit", as Nicolas hushed intonations invoke past comfort zones, a no-nonsense 'Pineapple Tree' emotion (ok, so I cheated, sue me), and just when you expect a somber dive into an abyss, the opposite is offered, a breezy and uber-melodic chorus superbly delivered with both verve and authority, Duke is on fire here, proving the case with a delirious multi-layered synth spot.

The two part "Liquid Feels" dominates 8+ minutes, and as such, forms the heavy prog section of the album, I daresay the core, the initial part 1 broods in sonic despondence, with geometrically smooth bass grumbling and some wide guitar slashes , that briefly accelerate into sub-sonic spaces, acting like thrusters focused on vectors. The quartet valiantly tackles tectonic criss-crossing riffs, erupting volcanic beats, and a raging vocal display that will make anyone's blood boil. This then morphs into the second part, acting as an interim instrumental platform , showing off both coherence to the initial mode, as well as intricate musicianship, as we witness the piano and bass lovingly embrace (poetry again), the Gabin guitar acrobatically pirouetting like a lean gymnast and Zecchinon bashing his kit with glee. Simply breathtaking.

It comes as no surprise that a change of attitude is called for , and "Broken Arrow" delivers the goods in spades, a jazzier fragrance within a more conventional format, circular rhythms and melodic lines, easy to follow and simpler to enjoy, with a joyful sing-along quality that shows reverence to past glories of rock music in general (I am thinking along the lines of Traffic), another extensive synthesizer flurry to prickle the ears is most welcome. Loved the audacity to pull this off. Definitely a highlight track among so many!

Get the motor running , head up on the autoroute, "Strangled" has a tinge of punk nastiness, as wrath, frustration and sweat unite to oil up the fretboards, raise the volume on the amps, let Zecchinon beat the living crap out of his skins and Duke yelling like Huw Cornwell in the early days of the Stranglers (coincidence in the title?, non!). A barn- burning rebel scream in the night.

On the thrilling "Fractal" , the rowdy bass guitar takes the concrete lead, blasting moonshine everywhere, a deceptive introduction that will morph into echoing background choirs offering a neo-Gothic cathedral experience, a brusque synthesizer sortie scouring the space between the dome and the arches. The clever detailing is more than welcome, as these four lads sure know how to keep things exciting and adventurous, expertly navigating temper and circumstance, melody and rhythm, a river of constant change within well-defined contextual architecture. Throw in a gloriously expressive voice that never disappoints, and you wave the flag of surrender as far as any potential negatives are concerned. I could stop here and give my 5 stars without hesitation, but there is another 28 minutes of tremendous music left in the tank. Well, seven years is a long time, after all.

"Under Control" emanates a modern sheen that is undeniable, far from retro or cliché, just an insane vocal delivery again with all sorts of electronic accoutrements meant to carefully camouflage the inner rage at the controlling machine, a powerful rejection of the algorithmic dictator that permeates out tools. Fiery guitar sparkles amid mellotron waves can do no wrong.

Now I did warn you about premature climax, as the leviathan 16-minute epic shows up on "The Cell", a piece that you are not allowed to listen to on your phone, as your battery may fry. This convulsive chef-d'oeuvre captures the entire essence of this album as well as the development of the players involved. It possesses all the prerequisites of potential fame in the prog world. Impeccable pacing and preparation, blending all kinds of ingredients into the mix, but at a restrained pace, so as the flavours can permeate both the body and the soul, and creating a composition that encompasses so many prog standards. The entire scope is futuristic, cinematic, organic, eccentric and electronic, unrelenting in its grasp of various hi-tech tendencies, and deadly serious in its deliverance. Urgently passionate, verging on swelling delirium, the arrangement never falters for even one iota, the insistent synths doing nothing else but consolidating the groove. The ambient moments come along as panacea, a medicated form of atonement of past sins, yet still yearning for release. This is one of the finest 2025 epics and we are only halfway through the year. One is completely caught by surprise as the final section enhances a sense of imminent liberation, a breezy, joyful and exuberant vocal and guitar phrasing that throws away the punishing key for evermore. Free at last.

After all the emotional warfare , a bucolic acoustic ballad arrives as a blessing ,"When the Wind Blows" is prettiness incarnate, a ballad of majestic melodic proportions, a vocal duet of crushing simplicity. Mellotron enters only to highlight the chorus, all fragility and swoon. As fine a song as one can hope for.

5 Empires of Options

Moonshine Blast. Remember the name. These Paris based guys published last year their second record, Realm of Possibilities, which I honestly consider one of the greatest pieces of music of the decade. I decided to take some time to write a review, listening to the album several times, even watching some live performances of the band, and the more I listen to Realm of Possibilities, the more I'm sure I had already took a step closer to a musical masterpiece. The band proves to be able to play different genres, putting pop, grunge and psichedelia into a solid prog rock work, almays remaining loyal to their own style, finding their voice in an ocean of established artists, playing their own music with courage and awareness. There are even moments aimed to prog metal, as the heavy Strangled, built on a strong groove which I found myself handbang on several times, and songs with clear and poppy melodies, as Only You and No Exit: the most soft tracks of the record, even though some some good grunge riffs played with the bass. Grungy rhythms come back in songs as Fractal, which goes through different times signatures and a wonderful keyboard crescendo. Keyboards parts are curated by the singer Nicolas Duke, who has an incredible vocal extension and ability, feeling perfectly comfortable with each of the melodies the band plays. Sounds really good even in the most difficult tracks of the record: Cruel Immission, the most well written song of the record - starts in 7/8, goes in 4/4, ends in a wonderful crescendo - and The Cell, a sixteen-minute-long song built on psychedelic synthesizers and misterious keyboards, whose structure sent my mind back to Porcupine Tree's Anesthetize, in some parts. PT's influence is evident in much of the grooves the drummer Thomas Zecchinon plays, Gavin Harrison-like syncopath hits are recognizaible, especially in the two parts track Liquid Feels - don't understand why it's been divided in two, 'cause the whole thing works fine together. This is probably the weekest moment of the record, where Steven Wilson's passages and grooves kill their originality. The album ends with the beautiful acoustic ballad Where the Wind Blows, which wins the prize for the best lyric. Anyway, the highlists of Realm of Possibilities, for me, are the title track opener, a perfect overture for this amazing muscial journey, where Duke's voice, melodies and bass rhythm are at their best, the pounding Under.Control. (super heavy) and Broken Arrow, a poppy song that bounds Peter Gabriel's melody with Big Big Train'structures. As I said, remember about this franch band: they can easily play different genres, build complex structures and powerful melodies; their sound is recognizable, strong, original and accessful. They draw from monsters as Pearl Jam, Porcupine Tree, Big Big Train, Nirvana, Pineapple Thief, Mr.Mister and many others, keeping their own style. Realm of Possibilities is an incradible record, not perfect, but a good starting point for the future. Moonshine Blast is a young and talented band: we're going to hear them more often in the next years. And I can't wait for it.

Steven Wilson-like music from France. These guys are young! Genius move to enlist the injection of experience and virtuosity from seasoned veterans Colin Edwin and Pat Mastelotto.

1. "Realm of Possibilities" (4:00) A great opener; a song that really prepares the listener for the kind of styles and quality sound that this album is all about. There is a cool RIVERSIDE feel to this music--and to the engineering and production--and yet there are hints at other important bands as well. (9.3333/10)

2. "Cruel Immission" (7:32) background atmospherics open this one before acoustic guitars establish a gentler, more sensitive LUNATIC SOUL-like approach to this one. Once Nicolas Duke enters with his singing voice the song becomes pure STEVEN WILSON--very much deserving to fit in among SW's great Hand. Cannot. Erase. album. I particularly love the spread out spaciousness of the instrumental and sound palette here--even in the middle instrumental section where the number and type of instruments thicken the sonic field there is still an easy separation over the atmospheric background. Nicolas' more-aggressive "metal" style singing voice is employed for the song's heavier second half. He's good! It's powerful! It works! (14/15)

3. "Only You" (3:44) opens like a grungy TOOL-like "pop" song (a stylistic thing Steven Wilson was fond of doing in his Porcupine Tree years). The catchy, melodic chorus definitely confirms that this could be intended as a radio-play-oriented song. Solid, well -constructed and -performed. (9/10)

4. "No Exit" (5:47) another opening that is almost lifted straight from a few SW/PT songs: guitar notes and close-whispered singing voice. Eventually drums and all kinds of incidental keyboard-generated sounds are thrown into the soundscape until 2:25 when the chorus leaps off the ground into your ears to worm its way into permanent residence. The second "verse" section also borrows from SW with the "mega-phone"-treated vocal, but then we're back into that AMAZING chorus! You've got me wrapped around your little finger! (So like Steven Wilson!) The little synth-solo in the trite little instrumental section at the end is almost a footnote. (9.5/10)

5. "Liquid Feels I" (3:52) with all of these Steven Wilson references I find myself reminded of two things: 1) what a genius Steven Wilson is and 2) how much I like that 2010-2015 period of Steven's discography. The deep bass play on this one is cool as are the idiosyncratic (and restrained) drums. Like something from The Raven That Refused to Sing with a little of TOOL/Maynard James Keenan's theatricity. (9/10)

6. "Liquid Feels II" (4:30) the TOOLish instrumental follow-up to Part I. I like the jazzier motif in the third minute the best. Is that a ChapmanStick performing the bass parts? The heavier, more distorted sound of the fourth minute is not as pleasing, but they come out of it for the finish, which is nice. (8.875/10)

7. "Broken Arrow" (5:41) this one feels like a classic PETER GABRIEL song like "Digging in the Dirt" (especially the vocal) only with a little heavier instrumental palette for the foundational fabric. A little STYX-like keyboard work in the final section makes it interesting. Somehow this song just doesn't feel "finished" or "hear-felt." (8.75/10)

8. "Strangled" (4:02) like a heavier, more forceful SW song. A little too monochromatic and simple to garner any awards or accolades. I think this is one of those songs that are quite dependent on the lyrical message being delivered. (8.75/10)

9. "Fractal" (7:55) another song that sounds as if it could come directly off of one of Steven Wilson's early solo albums--Grace for Drowning or The Raven That Refused to Sing. Some nice synth soloing in the fourth minute feels as if it needs something else from the music--a shift of some sort, even a subtle one. Suddenly, in the second half of the same fourth minute the music as a whole takes a left turn down a path of cautious, secretiveness. It's very interesting, engaging, and well-constructed: good solid entertainment. Nicolas returns to singing in the seventh minute as the quirky-jerky weave of syncopated instrumental lines beneath him slowly, subtly intensify all the way to the end of the song. Nice vocal performance--especially in that intense finish. (13.375/15)

10. "Under Control" (6:23) modern yet somehow rooted in some 1980s New Wave effects. Interesting! Even the way Nicolas' voice is reverbed harkens back to some kind of 1980s Talk Talk-Mark Hollis sound. I'm not complaining, just remarking! I like hearing this "cover" of a Talk Talk sound! In the middle of the fourth minute the song shifts a few times: whispered vocals, "Tainted Love"inspired instrumental work, just a beautiful master class in blending multifarious and subtle elements and sounds from classic 1980s songs! Very, very cool! If the melodies and words a little more compelling this would be a great song. As it is it's still a song that I look forward to hearing a lot in the future! (9.25/10)

11. "The Cell" (16:02) NO! You're not going to "Perfect Life" for source material, are you? (Or is it "Routine"?) It's so well done and yet it's almost too much! The elements and qualities similar to RIVERSIDE also come shining through the further we get into the song, but the unrelenting cruise control speed exhibited from the rhythm track is more akin to some of Steven's longer tunes (as well as Pink Floyd's "tribute to Disco" "Run Like Hell"). Even when the four-chord vamp is reconstituted into "symphonic" synthesizer form for the thirteenth and fourteenth minutes it retains the same insistent forward momentum. It's well done though almost one dimensional and, again, a little too imitative of other artists' works. (26.375/30)

12. "When the Wind Blows" (6:00) why not end the album with yet one more Steven Wilson-styled song--this one feeling quite similar to the album's song #4, "No Exit," only a more acoustic version (including brushed drums and fairly untreated-multi-voice vocals). Mellotron joins the soundscape in the fourth minute, pulling the song toward another era of music, but Nicolas "SW" Duke remains true to his imitation of his 21st Century hero right to the end. (8.75/10)

Total Time 75:28

I find myself really torn when pondering how to rate and extoll this album: it's so derivative of Steven Wilson's work and yet it's so well done--each song reminding me how much I really like and appreciate the music and genius of Steven as well as confirming that there is room for more music like his, and yet, I'm always hoping for a little more originality to come through with the creations that a band chooses to release for public consumption.

B+/4.5 stars; a near-masterpiece of high-quality Steven Wilson-like progressive rock music. Highly recommended to all prog lovers--especially if you're a SW fan.

"Realm of Possibilities" and the modern, alternative sound, more electric rock, an innovative and energetic nectar. "Cruel Immission" piano arpeggio and acoustic guitar, an air of CABREL felt at the beginning, delicacy. After this intimate intro the prog metal variation comes to light, acid, sharp, sharp dynamite, enjoyable, fat, catchy, a bit of OCEANSIZE in the distance. The metal riff comes to stick itself right in this piece that makes me sway my hips, my foot unbearable. "Only You" on a groove like PINEAPPLE THIEF, a zest of OSI and the PORCUPINE TREE from the start, it smells good of fresh blood. The break with incisive pad doubled with a guitar flash and the ear that remains on the lookout; it's just perfect this strangely and pleasantly disturbing sound. "No Exit" continues, WILSON in the line of fire but with a fluid air of raging pop love song and Nicolas' keyboard solo, yes there is not only the guitar here; amazed. "Liquid Feels I" in 2 phases, crooner air of a CANTAT at the best of NOIR DESIR; a good dirty and jerky rock sound that starts up all of a sudden, Thomas' pads very effective. Garage rock with a heavy touch that makes you frown, a rock current worthy of a grandson of LED ZEPPELIN with an atomic current. "Liquid Feels II" continues with the instrumental part, drums and airy piano, like a reincarnated Joe JACKSON. The synth pushes making its place, Nicolas' nervous guitar riff supports it. It lights up the stage before the jazzy, South American break; it grooves like on an uninhibited BRAND X with the return of the over-excited guitar this time. The slap for this alternative prog rock as it should be. "Broken Arrow" starts with jazzy soul to snap its fingers and go on rock, that of the 90s, a bit of Gabriel with prog consonances. Rhythm with the energy of despair, the hope of having a giant break; it arrives captivating, catchy. Almost indescribable, avant-garde with final Olympian bells. "Strangled" change of style with a dated 80s sound, the time of heavy metal. The riff makes you nod, we are electrified, hold on to the DEF LEPPARD for this reverberating chorus and these voice-overs. The foot is hot to move, we are on new hard 2025, we move and we stay on the lookout so as not to get lost in this bewitching progressive meander.

"Fractal" cut intro, fractal, the rhythm on the RAGE AGAINST THE MACHINE and the nervous sound of a SMASHING PUMPKINS for the hypnotic bass. We continue to move hard, that's the best thing about this album. The variation will require many listens to tame this piece like this break with Gregorian choirs based on didgeridoo and screams; in short, captivating. A long mantran crescendo, a keyboard like MANFRED MANN from the 80s, Nicolas' scream and this burning post-progressive rise. "Under Control" puts your feet back on the ground with this electronic variation, pop rock infused with a melody to melt a nun. The softness of the synth groove denoting on the album, making your ears prick up by breaking the markers of prog, rock, current music. The chopped break phrased with the heavy bass, a touch of new-wave electro, a tenacious riff, I'm under control; different and fabulous. "The Cell" for the epic piece, an electric, electro and progressive 'Anesthetize', ideal for immersing yourself; Pad and latency, Gilmourian guitar melting, soft vocal preparing for trance. The crescendo with the sound that swells and the synth that prints the rhythm; let's be clear, a musical melting pot, nervous, electric, eclectic, hypnotic. A zest of madness on LEPROUS with modern synth. The crescendo goes into post dark-wave, fabulous I invent musical drawers; the rise is easy, electro-compulsive. Halfway through and this Anglican prog rock mix boosted by a Teutonic rhythm; an energetic crescendo that swells, does not stop, the voice being an integral part of the title. The hypnotic bass and the fat synth look to a Gary NUMAN. The atmosphere becomes solemn, ethereal, doubled by a divine guitar solo. The adorable finale with so much beauty, a voice and a languorous choir drowning in yet another clear guitar solo, spleen. Prog and new-wave for the dream fusion. "When the Wind Blows" for the authentic acoustic ballad, raw with the feeling of the female voice, this Nicolas has a singular vocal organ. The final title to breathe after so much emotion; a sweet melancholic nursery rhyme brightened by a jazzy beat, warm choirs, on the edge of unplugged with the synth showing its importance. A last melting guitar solo leads to ecstasy, a little Jeff BUCKLEY in the distance to die drowned, happy after this discovery.

MOONSHINE BLAST understood it: in the realms of possibilities you have to take risks, they did it. After the sought-after reminiscences of a WILSON, PINEAPPLE THIEF or even a RADIOHEAD, we find an album dripping with musical life, creation, fusion. A modern, transcendent, ambitious sound that invites you to travel. Originelly on profilprog.

MOONSHINE BLAST is a four piece band comprising of Nicolas Duke (lead vocals, keyboards, piano, acoustic guitars), Gabin Rock (electric guitars, b/vocals), Renaud Lyabastre (bass) and Thomas Zecchinon (drums, percussion, b/vocals). March 2018 saw the release of their debut album 'Reality Fear', clocked in at over 60 minutes. What we have here is a homage to the spirit and flavor of the past, yet refreshing and quite original approach with excellent musicianship. It would be fair to tag CD 'Reality Fear' as a sort of merger for different ingredients. There's an abundance of ideas and styles. Whatever the genre, this is a solid piece of music and worth a spark an interest. Standout tracks? The album starts off with wondrous 'Mars', evoking the classic neoprog sounds in the vein of GLD and Marillion. Very melodic, lots of subtlties and elegance. Devoted fans of Chris De Burgh should find plenty to enjoy on 'We Want This World To Be Better'. Another case in point, the longest composition titled 'Cutting The Rope'. It has a gathering structure, to flow through a variety of musical landscapes and moods. A song of two contrasting halves beginning with a tranquil guitar, vintage keys and vocal lament reminiscent of 70's Genesis, before morphing into a heavier section a'la Opeth which brings some growlings. At the end, there's another Genesis-like section. The next item is 'The Gate Of Dawn'. In terms of comparisons, it has some earmarks of Riverside. Moving on, hard edged stance of 'Dusty Lady' is reminiscent of such bands like Foreigner and Thunder. Also worthy of note is the closing track 'Earthquake' which does share much in common with Camel, Toto and ELO. The rest of material leans into more pop/rock territories, still holding the melodic focus. Last but not least, fantastic artwork/packaging. To my mind, MOONSHINE BLAST gave a superb visiting card. Sure, for a debut release that's produced on a limited budget, the quality of 'Reality Fear' is just amazing. Actually, having listened to this album for a few months, I think this is one of my favorite CD's in 2018 - because it features a lot of stylistic diversity plus unexpected twists and turns. This work represents very good value for money and can be ordered through the band's website.