PRYZME / EX-LINGUS

This week, I'll be checking out French proggers PrYzme's (pronounced "Prism") 2nd album, "True Stories? and Other Lies", set to be released on May 30. 2025. While this is only the band's 2nd album (the first being "Four Inches" released in 2021), the band goes back over 10 years to their 2014 inception, when they were originally called Lingus. The band formed in the city of Rennes, which is approximately 215 miles W/SW of Paris. Guitarists/Vocalists David Chollet and Dominique Blanchard met in 2014, and upon discovering that they shared similar influences of classic prog bands like Yes and Pink Floyd, as well as more modern ones like Porcupine Tree, they decided to compose original prog rock music, with the eventual goal of creating a band. After composing 8 songs, they sought out other members who shared their vision. While the initial line-up came about in 2015, the true line-up didn't come together until adding Maxence Marmieysse on bass at the end of 2018, then Gabrielle Duplenne on drums in 2019. They changed the band's name to PrYzme in 2021 in time to release "Four Inches".

[Disclosure for transparency. In March of 2025, Anne-Claire BaddogPromotions of BadDog productions reached out to me to review and feature some of her artists, but there is no compensation outside of digital files of the music for review purposes, and I choose what I want to write about, and express my opinions freely. Anne-Claire did request this review, and there may be something else related on the horizon. I am free to post about any artist, regardless of whether they are represented by her or not.]

Without further ado, let's hear some "True Stories?and Other Lies". This is mostly a "cold" listen, with the exception of track two, which I heard while checking out the accompanying video.

Track 1- Echo of Silent Place

At only 1:10, this is by far the shortest track, and I suspect it functions as an intro to the album. Some sound effects, and electronic percussion and synths set the stage for us before a sudden blast of a riff jumps in during the final seconds!

Track 2 - Earth Song

Sound effects of people talking with a subtle rhythm underneath fades in until a big riff hits at just before the one minute mark which I believe is in 7-4. By 1:30, the music settles down to establish a nice bed before the first verse vocals enter. The vocals (in English) are smooth and clear, with just a hint of a French accent. Excellent harmonies at 2:06, and I don't detect any auto-tune. A variation of the opening riff backs up the pre-chorus. The harmony vocals continue through the chorus. The opening riff is restated, then they set up an instrumental section. There are keyboards involved, but I am not sure who is playing them. This really gives me Porcupine Tree vibes. A well-executed guitar solo begins at 4:40 or so. At times, I'd like to hear the solo be just a bit higher in the mix. A rhythmic bridge follows the extended solo. Nice drum fills as the song reaches its conclusion on an ascending pattern followed by a clap of thunder. Great song! Definitely a good choice as the lead-off single. This full version clocks in at 7:50, but a radio edit is also included on the version I was given, which is just over 4 minutes.

Track 3 - End of the Anger

This begins with keyboard sequences, then a funky guitar riff comes in. This has a very cool fusion vibe. The vocals are well done again; they really like to harmonize! At 2:20, there is some killer odd-meter riffing before the next verse begins. The backing vocals hold sustained notes while the lead vocals continue over the top?nice! This one has me boppin' my head. At about 4:05, the music pauses briefly and enters a new, initially quieter, instrumental section, which crescendos to an a-cappella harmony but that would make Gentle Giant proud! By 5:00 the band kicks in. There are lots of overlapping rhythms and melodies both vocally and instrumentally, but they pull it off with aplomb! At around 6 minutes the keyboards take back over, leading the way to another guitar solo, this one more free-time. I am getting the Pink Floyd influence here. By 7:30 the music is building up in intensity. It explodes into some prog-tastic riffing in 7-8, I believe. The music continues to build until a short keyboard sound takes us to the conclusion. Fantastic track! (The album also includes a shorter radio edit.)

Track 4 - Green Eyes

This is one of the two tracks on the album that clocks in at over 10 minutes (11:04). It begins with acoustic playing, soon joined by vocals. An electric guitar with interesting effects joins between verses. This has a slow but steady tempo. At around 1:45, the full band joins in with more wonderful vocal harmonies. The drums drop back out after the chorus but the bass remains. As the next chorus approaches, synth-strings lead it in and the drums return. These harmonies are full and rich. At around 4:15, a clean electric guitar riff with excellent use of delay effects joins in with hi-hat accompaniment. The synth strings precede the bass and drums coming in. I like the bass tone here, as he plays a simple but effective riff, which is locked in tight with the drums. They have created a fine atmosphere as a guitar enters with a nice riff. After that is established, a guitar solo enters over the top. The solo is melodic and flows nicely with smooth legato playing. The rhythm shifts at 7:38 and becomes more straight forward as the solo continues. I'm betting that PrYzme are tight-as-hell when playing live. I liked the sustained guitar note around 9:35 that was just on the edge of feedback. Excellent drumming around 10 minutes, before the acoustic guitar returns in the manner of the intro. The lead vocals return for a final verse that ends on an unresolved guitar-chord. Superb prog!

Track 5 - Reality of Dreams

A clean guitar riff fades in, then is joined by an acoustic riff. The bass begins doubling the acoustic riff, then there are some drum accents. Synth joins in, then a new acoustic riff takes over with a jazzy feel at around 1:20. The rhythm section joins in and backs the vocals. There are some interesting chord progressions on this track. At around 4:10 we begin to transition to a new section. After a slower moment, the tempo double-times. By 5:30 we have returned to the earlier tempo. At 6:30 the rhythm pauses again. Nice clean riffs in unison from electric, acoustic and bass as we close- out the song. Cool track!

Track 6 - Never Again

This fades in with guitar feedback into a smokin' hot riff. The bass gets featured with some effects on it soon after. Then the band joins back in. A sustained note alerts us that the next section is about to begin. Sustained keys and sound effects take over in a Porcupine Tree manner. A clean but sinister guitar riff fades in next. Fuzz bass provides accents. Then the band comes back in full after the 3 minute mark. Vocals begin around 3:25. The beat pauses again around 4:30. The vocals sing in unison with a guitar part next. A guitar solo begins before the 6 minute point. A heavy riff begins with about one minute remaining. The band joins in with it. Some complex riffing based on the opening riff closes it out. I really feel the more modern Porcupine Tree influence here. Strong track!

Track 7 - Silent Place

This is the longest track at 12:12, and the last proper track of the album sans the radio edits of tracks 2-3. So, we'll call it a closing epic! Sequenced synths and electronic percussion lead us up to a heavy riff. They establish a groove by around 30 seconds with the vocals following soon. The later part of the verse has a more mellow feel. After the second verse there is an instrumental break/guitar solo with a fusion vibe. The following verse is brief, on the same groove, and followed by a shorter guitar solo. The groove then continues with harmony vocals. That abruptly ends with more heavy riffage. The guitars take back over with another solo that leads to a new vocal section at a faster, running tempo. The bass & drums really keep things moving. It goes back to the half-time feel afterwards. The bass gets a bit of a spotlight before the next solo begins in an odd-meter. Vocals then return over that feel. Synth strings float over the top when the next meter begins. There are some interesting accents at around 9 minutes. The guitar is building a nice solo in this segment. I am not sure if poth guitarists take leads but I suspect so. There is a very Spock's Beard transitional riff at around 10:20 that reminds me of a moment in "The Great Nothing". The opening synth vibe returns momentarily before one of the main riffs return. There is a harmonized lead break with about a minute to go, and the band is cooking! With about 20 seconds left the sequenced synths fade the song to a close. Awesome prog!

OVERALL IMPRESSIONS:

What a great album! I believe any prog fan will find something to enjoy on it. These are great players and singers and they have given us some fine compositions to sink our teeth into. I hope that they get some recognition from this. I'll give it a very strong 4.5 out of 5 stars.

Clicked 4, but really 4.5

Strangeness certainly shows its face on "Echo of a Silent Place", a modern guitar-driven tremor that holds back vigorously before convulsing into a streak of awareness. An ideal prelude (first French word) to the impressive "Earth Song ", the band shows off its style with aplomb (and a second), a gently rousing anthem that rocks back and forth between a gentle and aggressive guitar interweaving, a dual attack that works wonders both rhythmically as well as ensemble (and three) playing at peak level. The quality of the vocal delivery is on par with the immediacy of the melodic content. An exhilarating wake-up call.

"End of the Anger" stretches the boundaries even more, as the twin fretboards throttle forward without hesitancy, both separately carving their parallel paths, heading towards the same groove, the rhythm section fluctuating as need be, shifting gears where the opportunity demands, as both the limbering bass and choppy percussive attack the arrangement. It's always forceful, though never needlessly heavy, emitting an attractive dose of creativity that keeps the listener transfixed, as to what is next. Case in point, a sudden 'dub ah dah' vocal insertion that left me bemused. Bien joué! (and four).

Time for some insightful selections and "Green Eyes" prefers a more 'laissez-faire' (that would be five, now) epic that runs over 11 minutes, focused solely on expanse and melody, as well as a dreamier atmosphere, constructing harmony voices and orchestrations to set the tone. The mid-section presents a tremendous platform for jangling guitars to intertwine with filigree meticulousness, long enough for Toquet's burping bass to interfere rather brilliantly, no haste, no waste. The eventual set-up you can sense it coming all along, a blistering guitar solo ripples like an Atlantic gale, ratcheting up the tension , in full union with the expansive vocal work that started this amazing piece off. Toss in an acoustic guitar outro , 'you wake up from a gorgeous dream? wish it could have lasted longer'. Indeed! An exceptional discovery.

One must be dialed in to match the previous stroke of delight and "Reality of Dreams" simply stands up to the challenge, throwing in neo-jazzy guitar slashes that reek of Andy Summers's solo work, an even breezier melodic accoutrement (six) that highlights not only the duality of the voices but also the guitars, replacing the need for keyboards is not an easy choice, yet pull it off with unabashed talent. Offering acoustic and electric parallels is awe-inspiring.

The snarling initial brutality of "Never Again" was expected after all the previous luxuriance and Pryzme pull no punches, destroying any resistance (seven) until victory is achieved and no armistice (eight) to dwell on. Time to rest the weary bones after the strenuous battle, and ponder the future, the scat voice running under the shark guitars belly, long enough for the deliberate explosion to liberate the suppressed fury waiting to erupt. Other stories?True lies.

The longest track is the last, "Silent Place" suggesting a 12 minutes+ contemplation of some distant void, rambling electric slivers surfing over a galloping bass line, and a groove that will not let go. One guitarist drilling complex lines and another slashing wide berths , one soloing as if in a George Benson jazz-rock mode, the other extending long sustained notes. Crafty devils, these Breton lads! Smooth as Calvados, and intricate like a Bigoudène (look those up, that is what the internet is really for). 'Hope it's not too late , still got so much to do, taking a ride to somewhere'. Quite the moody and jazzy ride, wholly unexpected. Even more stunning is how it slowly evolves into a less subdued atmosphere, kicking into turbo charged gear, both vocally and instrumentally, with all the 'fioriture' (nine) left far behind, insistent and ultimately gloriously spun! The final minutes are sheer perfection.

A couple of radio edit of "Earth Song" and "End of Anger" complete the oeuvre (finally, ten). I just love first impression, and this is just plain 'magnifique' .

4.5 Crepes bretonnes