PHOG

I think after hearing their own work on their debut, Communication, Phog may have realized how empty and basic their music was. I believe this because there's a bit of a stronger vibe here on their second, Evidence, that's much more suitable for prog rock. There's less of the empty post-rock and some more symphonics prominent throughout the album. Each song carries a few nice little tunes and tricks that keep things fun for anyone who may like neo or symphonic prog. Of course, it should still be addressed that this newfound strength is only noticeable in comparison to the debut. In comparison to Marillion or Genesis, it's still not exactly prime prog here. But kudos to them for a noticeable improvement. On a quality range, I'd compare it to the improvement between the first two Symphony X albums: less than 6/10 - close to a 7.

In order to achieve the fullest extent of neo-prog's appeal, considering that I've struggled with it in the past many times, I felt it was necessary for me to explore both the good AND the bad of the genre. I've done this many times with other genres before, and it's helped me dramatically over the years. Checking for lower-rated neo-prog, I found some bands to be difficult to find until I came across Phog. Starting with their debut, Communication isn't the horror I was looking for, but it was extraordinarily basic. It felt like the band was throwing together simple concepts while playing the bare essential instruments without focusing heavily on that soaring emotional attitude you'd find in the average Marillion album. There were times where it felt more like jingles in a toy or every instrument was trying to be a basic drum machine beat. The simplicity of it all was calming but a bit disappointing. But at only 45 minutes, it rarely ever became a bore.

While on the subject of one-man multi-instrumentalists, Frenchman Philippe Ogier has been a prolific and consistent artist, releasing an album on a near yearly basis since 2018, with "Elements" being his sixth offering, all displaying a wealth of superlative material anchored in the instrumental symphonic prog category. Highly talented on all the instruments at his disposal, Phog keeps delivering his craft, within the confines of his style and muse. He sprinkles his albums with epic pieces (10-to-22-minute range) as well as shorter ones (1, 2, 4 and 6 minutes when required), thus keeping the pace intriguing and adventurous. For diversity's sake let's us begin with tracks 2 and 8 which fall in the first category.

The playfully bright second track "New Land, New Blood" emits a very positive jazzy vibe, an aromatic groove is laid down by a highly enthusiastic bass line, as the keyboards and guitars weave the quilted melody. The theme alters its course for a more cinematographic pastoral form, flute sounds in abundance, a very Camel-like atmosphere (a trait that is noticeable through all is albums), that only serves to heighten the adventurous spirit of the arrangement. The instrumental scaffold is expertly constructed, so as to keep the tension moving ahead, led by that elastic and upfront bass guitar. Fans of Moonmadness or Rain Dances will find plenty of joy here. Tinges of medieval music are most welcome, furthering the timeless shimmer that permeates the various permutations. With a title like "The Last Call", we understand that there is a finality being asserted, and a grandiose ending it certainly can claim to be. The epic 12 minute + piece is an elaborate affair, infusing a magical flair, almost puerile and naïve but in a good sense, the prominent bass once again illuminating the pathway with some limber interventions, the Hackett-ish electric guitar glittering like a spectral night, bathing in the frothy organ surfs, synths coiling with delight. Refreshingly pure and seductive, the twists and turns are handled without any effort, evolving towards forever newer peaks and valleys, the slow-hand electric guitar solo is a gem of expressive restraint, slicing a melody that is reprised by a glowing synthesizer that seeks out emotion instead of technical dazzle. Again, the illustrious Dromedary comes to mind. I happen to be a huge fan of this unpretentious, overtly pleasurable soundtrack of instrumental progressive track that seeks neither fame nor fortune, just plain enjoyment.

Within the briefer pieces, the initial gloomy attraction of "Deep Wave" is a tremendous musical moment of symphonic ambient that is soothing yet mysterious, and when it blossoms into an elevated plane, the bass, guitars and drums initializing the riff, it is a successful transition. "The Lantern" has a slick flickering flame theme that finally sheds light on a quite the quirky arrangement, vivaciously innocuous, yet fuelled by a stoking bass guitar that keeps the heat on the mood.

The title track is perhaps the most hyperactive number here, a lightning quick keyboard flurry, a heckling bass rumble, jaunty piano pounding obsessively, infused with a slight Alan Parsons' The Raven hint. Midway through, it settles into an extended platform for the guitar and the synth to solo over a whopping mellotron carpet. The agile bass reinitializes another tangent, hereby recalling the initial groove and melody.

Throw in a trio of smaller tidbits, some ambient, playful or colourful, and you wind up with an album that could easily compete for a leisurely Sunday morning relaxation period, looking through a porthole, admiring the scenery and looking forward to discovering a new land. Come sail away with Phog. 4.5 constituents

French multi-instrumentalist Philippe Ogier (Ph-Og) is a perfect example of a one-man show where the artist, much like a painter, addresses his sonic canvas with enormous patience, fortitude, creativity and attention to detail. Though I possess all his albums, it was long overdue to write a reflective review on the music this man makes seemingly at will . I have read on other platforms that the style is similar to Camel in that it is a rather mellow palette of sounds with little energy. I beg to differ as closer attention would have shed deeper light on the true nature of his craft. Best example is the opening track "Awakening" which is far from any soporific rehashing of Moonmadness or Rain Dances . Second major divergence from the glorious dromedary is the all-instrumental nature of his music. Ogier is a master of the big four: a ripping guitarist, a splendid keyboardist , a hyper active bass player and the drum work is equally impressive. And he proudly displays all these attributes on a bouncy opening salvo that really sets the mood and pattern for the entire album.

"Winter Storm" follows with its frozen white sheen, where ice pellets of e-piano, sheets of Nordic organ and a windy bass announce the entrance of a heated electric guitar blast, reminding one to dress up warm. "Satellite" displays the first slight hint of the Camel style mainly due to the flute intro and the elegant organ that sets up the main melody, though the booming bass is deliciously upfront and centre and the slithering guitar solo just seals the deal. The acoustic guitar section is a welcome addition as it launches the sonic sputnik into an elliptical orbit of sound that is deliriously entertaining. "Altiplano" is exquisitely evocative of the high Andes plateau, a barren rock land that separates Chile and Argentine , a world where lamas conquer the steepest crests with impunity . The soundtrackish theme is appropriately grandiose, discharging cinematographic vistas of intense beauty and unspoiled wilderness.

A gentle respite from all this soaring material is the contemplative piece "In the Distance" where a breezy jazz workout soothes the ears and the soul, like a heart-stopping glance over the horizon , when one hardy trekker has arrived at the peak of a mountain and the eyes take in the conquest's reward. A sensational organ flurry shoves this along , guided by an underpinning bass line that , once again, is not hiding in the background. The highlight reel epic 9 minute + "No Gravity" initially possesses the floating elegance of a musical cloud of complex simplicity, a serene interpretation of a liberated soul but also an extended piece that goes through a series of evolutions that keep the notes vivid and inspired. The piano work is both ornate and majestic, the organ rivalling at each turn for attention, the squirelling bass reminding all who is the boss here and the drums keeping everything in check. When the shivering electric lead kicks in ever so cleverly, sparring with the shimmering synthesizer, expected bliss is achieved. Magnificent slice of Phog prog. The finely chiseled "Summer 22" is a bright sunshine of progressive light , an evocative track that chooses to travel within the arrangement to other sonic horizons , painting music in the air as if held there by gravity alone. Shuffling drums and riveting organ splurges wander into the ether, a delicate guitar slide into the airy expanse guarantees a luxuriant tan that will last for a while.

A 42 minute aural adventure that rewards even more with repeated auditions.

4.5 blue planets

From France is coming multi-instrumentist Philippe Ogier aka Phog name taken of course from first 2 letters from his name, 4 albums in his sleeve so far. Phog offer symphonic prog with some neo prog touches here and there mainly inspired by acts such as Genesis, Camel, Finch and some french bands from '70's mainly Clearlight. Third album named This World... was issued in 2020 and is a continuation of previous two releases maybe even better in parts. The music is most of the time light and calm but has plenty of good moments, dreamy but yet complex and symphonic in instrumental sections. Overall is good but I wish to be little more up tempo , at least in some parts. Ombeline has some vocal parts, pretty decent I must add. Well, I like it, nothing groundbreaking but pleasent most of the time. 3 stars for sure, little know artis in today prog scene. Highlight for me the opening 8 min Awakening, the rest are also ok.