PATRICK RONDAT

Patrick Rondat's second album from 1991 entitled Rape of the earth. An clear inprovement over the first but a little far from his later releases in terme of compact and choesive compositions, Rape of the earth is a good album for sure but doesn't shine like for ex On the edge. All instrumental album , Rondat has the enough space to show us what is capable in his domain, guitar orientated ralbums. It was a real surprise for me, really, because I found it more acceptable in musaical terms and more inventive than many well known guitarist like , Vai or Moore, in fact I like Rondat 100 time more than Vai, that doesn't mean I don't appreciate Vai's work. So this second album is a pleasent and wellwritten, some pieces are real killer like:Mindscape ,Barbarians At The Gates and the final one World Of Silence ( an acustic piece full of great guitar chops), the rest are great also. So this album desearves for sure 3 stars, a good one but the perfection will be done only on On the edge album from 1999.

Definitly a very nice surprise for me. Jean Michel Jarre´s former guitarrist (also playing with dutch heavy metal veterans Elegy) proves he is one of the few cases where a skillfull and technical guitarrist plays for the music. Most virtuoso guitarrists are content to use solo albums as a showcase fo their habilities rather them produce fine music. Rondat does the opposite and I loved the album for that. The guy can actually write fine pieces of instrumental rock, with a metal edge on most of them, but also with great melodies and arrangements.

He also chose very well his back up band: Phil Woindrich is a fantastic keyboards player (also does some interesting solos here and there), the rhythm section of Patrice Guers (bass) and Tommy Aldridge (yes, the same man behind Ozzy Osborne and Whitesnake) is very strong. Production is also top notch. If you´re looking for some great guitar instrumental work try On The Edge, and maybe you´ll be as delightfully surprised as I was. Four stars.

3.5 realy

Patrick's Rondat third album from 1996 is another good album in my collection, but doesn't reach the beauty and complexity of his next album On the edge from 1999. To some of you Amphibia - the title of the album is a masterpiece, but not for me, something tells me that this is not his best work, in my opinion. The music is less intristing than On the edge, my fav Rondat album for sure. Again Rondat have a realy strong line up including among others the never tired drumer Tommy Aldridge who made history with Ozzy Osbourne, Whitesnake and others. The musicianship is great , showing how good they understand each other in making music, some pieces are strong it can be. The title of the album Amphibia is an epic of over 25 minutes split in 6 parts, each one in diffrent mood from slow and mellow to bursting guitar passages, prog metal with classical leanings is the best to describe Amphibia. The part 2 and 4 are absolute outstanding in manner of composition, great musicianship and intristing moods. Beside the Amphibia piece another well played and great pieces are Camouflage, Shatterd chains, the rest are also good. I've always liked Rondat music, is mainly diffrent from the usual guitarist album, because he is more concentrate on compositions as a whole not only his skills on guitar, and every musicians has a good role in developing the sound of the album. Also on this album are featured two pieces as bonus tracks - Burn out - from his previous work Rape of the earth and aswell on On the edge album but ths time only acustic version and a live piece - Just for fun - from Amphibia tour from 1997. Aswell here is cover version of Jean Michele Jarre - Equinox IV - very well put it in prog metal zone and Vivaldi tribute - of course a piece dedicated to the master Vivaldi. So as a whole the album is full and with good pieces, from fast to slow pieces, from intricated to more rock and mainstream tracks, but I can't give more than 3 stars, rounded up, but because 3.5 is not allowed I will give only 3, a good one for sure, but I prefer the next one On the edge, who was a 4 star album for me, his best work to date. Anyway Amphibia is recommanded for many listners, specialy for those who are more towards guitar orientated albums, they for sure will enjoy this work, as I did.

Patrick Rondat is a french guitarist who has by now 5 albums in his pocket. He is a very talented musicians who worked with many bands over the years from diffrent musical styles. He was an important member in Jean Michele Jarre band, now he is not working with him anymore, and concentrate his playing with the power metal band Elegy and has aswell a solo career. This album is the forth one named On the edge and is among his best albums he ever done. Very skillfull musician , but not exagerated with that gift manage to creat realy something special with this album. I was realy impressed when I first listen to On the edge , realeased in 1999. The music is very fresh and very variated, not like on other albums, specially on guitar orientated albums, the arrangements are fantastic. From prog metal to some influences from Dixie Dregs, mainly because he has two invited guest, apart from the main musicians whom is working with - the well known jazz players Michel Petrucciani and Didier Lockwood who are playing violin and ocasionaly keys. Now, as Rondat said in the booklet of the CD this album is dedicated to his dear friend and colaborator who just passed away before the album was done - Michel Petrucciani - but his contribution to this album is a real solid one.. The other invited guest, Didier Lockwood, was a member of Magma between 75-77. On drums is one of the best drumers around Tommy Aldridge, the rest of the musicians are not so known, but excellent musicians aswell. As I said the music is very fluid, with stunning arrangements, from fast to mellow pieces, intristing and itelligent shifting moments made from this forth album a 4 star to me. The musicianship is brilliant, not very often you can hear a so variated album, specialy when is guitarist album. He is concentrated not only on skills, how good I am, and specially on compositions, the result is very enjoyble and well done album. A big surprise for me, in agood way, because this album was so good, I've ordered without question his previous work Amphibia from 1997, who is considered his best shot since now. Recommended, one of the best guitarist in last 15 years, both solo and with Elegy. Not very known musician worldwide but with an unmatch attitude and aproach to guitar. Excellent addition to any prog music collection, 4 stars easely.

An Ephemeral World, released in 2004, is so far Patrick Rondat’s last studio album in his solo career. The main theme is rebellion against the fashion and the arrogant and violent society portrayed by the media. As Patrick wrote:

&quo;The music that I offer you doesn’t seem to be rebellious when compared to that traditionally considered to be ‘rebel music’, nevertheless it is a form of resistance to the current musical environment, and the further development of this ephemeral culture.(…) I have a relentless passion both for my instrument and to find a form of complexity–this creates a yearning within me to extend my creative boundaries–simplicity does not have the monopoly on emotion and sincerity.&quo;

The first song Donkey’s Island is a reference to the Land of Toys from The Adventures of Pinocchio, as depicted by John Hailes speaking against a background of circus music in the opening Welcome to the Donkey’s Island, where everyone can take advantage of everything without thinking twice. From the booklet:

&quo;A world that is frantically seeking it’s identity and evading it’s responsibilities, where the answers to it’s problems are transient at best, thus creating a society where violence and subsequently it’s suppression, arrogance, and contempt of others–especially covetous, pretentious people of dubious competence, become the values that are continually reinforced by the media! A world that makes me think of the Donkey’s Island in Pinocchio–the place where one takes advantage of everything, without constraint, without asking questions.&quo;

Donkey’s Island is one of my favorite tracks of the album, with great heavy riffs and some interesting keyboards programming, by Patrick himself. The same subject is picked up on Born to Buy?, while 614 HSO, with it’s sorrow jazz-like slowdown around the middle of the song, is dedicated to H. B. Halicki &quo;The Car Crash King&quo;. On the other hand, my second favorite track, Tethysrefers to 200 million years old sea, called after Greek titaness and aquatic sea goddess, that with passing time became a Mediterranean Sea. When the acoustic guitar enters for the second time here, it brings me a blur recollection of an old animated series The Mysterious Cities of Gold, although the actuall opening theme doesn’t sound much like what Patrick’s playing here :) Oh, and that great acoustic guitar sweep right before the distorted guitar’s yearning solo comes in–classic! Similar subject is picked up on Ispahan–this time a reference to a “talented and accomplished civilisation”–with it’s quasi-oriental acoustic arrangements, successively picked up by bass, percussion and distorted guitar, reaching Patrick’s and Markus Teske’s unison guitar+synth theme and falling to slowly pacing rhythm.

The recording is full of interesting quirks, like jazzy Twilight, a four and a half minute slow down in the middle of the album, baroque sweeps at the beginning of Avalonia or a passage later on in the song resembling–yeah, I know that only to me–the opening of Death’s Spirit Crusher, when instruments re-appear sequentially, starting from bass. Of course this would not be truly Patrick Rondat’s album if it wouldn’t include any reference to classical music, this time featuring Johann Sebastian Bach’s Partita No. 1 in B-moll for solo Violin to close the album.

Musically this CD is simply great. Lot’s of complex passages at a neck-breaking speed, interesting slow downs filled with beautiful piano sounds. Although I rarely give out five stars, this album definitely deserves them. A must have release for any neo-prog fan, and definitely interesting position for all proggers.

My love for Patrick Rondat’s work begun with his third solo album On the Edge. Although it took me some time (over half a year constantly searching) to get my hands on the CD itself, I love this album ever since I downloaded it from the ‘net in the first place. Come to think about it, if I wouldn’t listen to the mp3 version at first I probably wouldn’t be the proud owner of any of his albums, so maybe mp3s ain’t so bad after all?

Although this is a guitarists’ solo album, it’s pretty good listening for a rhythm section pervert like me as it contains well articulated Patrice Guers‘ work on the bass guitar–more distinct than on Amphibia–and Tommy Aldrige’s again interesting drumming. On the other hand, the role of Phil Woindrich’s keyboard seems to be reduced to some backing synths for the most part, coming out of shades only for couple of piano passages. But then again, this is a guitarists solo album after all.

Out of the whole recording my personally favorite song is Duality, the very first thing I’ve heard from Patrick Rondat. The song is split into three parts plus an introduction and bears some resemblance to Patrick’s grand composition Amphibia, where style changes symbolized water and land and the metamorphosis needed to be able to move between the two, whereas here it’s a duality of things, as every subject may have twofold meaning. Two heavy parts of the song (first and third) are separated with slow guitar musing laid upon quiet keyboard synths.

You can also find here Patrick’s well known track Burn out from Rape of the Earth this time arranged for piano and acoustic guitar–similarly to Amphibia part V–playing in unison for the most part, complementing each other. I don’t think this recording contains any bad songs at all. Some are simply good, like Into the Wild, some are outstanding, like Why do you do things like that resembling at first somewhat Magic Elf’s style until Didier Lockwood and Michel Petrucciani kicks in with their solos, followed by Phil’s and Patrick’s.

Given how much I like listening to this recording and how much pain it was to actually get the CD, this is definitely one of the shining pearls of my collection. It’s a really interesting progressive rock/metal album written and performed by a very talented guitarist; well produced, with juicy, rich sound. The album is very consistent, but because it is instrumental it requires listener’s concentration or otherwise it may all get blured. Nonetheless, like all Patrick Rondat’s albums, I recommend it to anyone who’s looking for a modern, heavy progressive sound and/or inspiration.

Amphibia is Patrick Rondat’s third solo album. Released in 1996, presented Patrick’s famous frog that’s associated with all his solo work ever since.

The opening song Amphibia, one of Patrick’s biggest compositions, is, as he himself described it, a “journey through different musical landscapes”. This 28 minutes long composition shifts from melodic passages, arranged for both electric and acoustic guitar, to heavy riffs and back again. It’s a presentation of what Patrick is really capable of both as a guitarist and as a composer. The song is split into six parts with the same theme interleaving throughout the whole piece. The title amphibia is the front cover frog here symbolizing life in two different environments, water and land, and is also “a play on the English name for the French: Frogs”, according to booklet comments. The song begins with a tide-like hit and soothing acoustic musing that emerges out of it, then changes to steady rocking pace in second part with melodic guitar on top, that spectacularly collapses to a slow drumming, making way for a weeping guitar backed by a keyboard in part three, which yet again changes to heavy metal shredding in part four–I really like how Patrice’s clanging bass accompanies the guitar here. Fifth part goes back to hushed acoustic guitar and piano playing pari passu–a very nice effect–which slowly gains momentum to end with quasi-classical guitar sweeping in part six.

Among other songs, like almost-classical heavy metal Camouflage or blues-like Shattered Chains, you’ll also find Vivaldi Tribute, which is Vivaldi’s Concerto No. 2 in G minor L’estate (Summer) Presto that Patrick used to play as a practice!, Jean Michel Jarre’s cover Equinox IV or live performance recording of Burn Out known from Patrick’s previous album.

Although–well, of course–this is a guitarists solo album and as such a guitar-centric recording, you can, if you’ll listen carefully, hear some interesting rhythm section work going on, like short but snappy bass clang in Amphibia part four I had mentioned before, Tommy Aldridge’s great drumming or Phil’s pianowork. This album is an excellent addition to any prog music collection– one of the gems of my own–and generally great listening for all prog-junkies.

Rape of the Earth is Patrick Rondat’s second solo album. Compared to his most recent work this is not a marvelous recording. Still, it’s pretty decent and quite interesting from a historical perspective as it shows a transition from heavy to prog metal, introducing Patrick’s individual style that will remain on his successive albums while his riffs will undergo a major evolution.

Rape of the Earth is 1980’s heavy metal influenced album so similar to other guitarists’ work of that times. If I were to compare it with someone else’s work, I’d describe it as a mixture of Marty Friedman’s (Mindscape) and Gary Moore’s (Barbarians at the Gates, The Last Whale) finest.

My personally favorite tracks here are Barbarians at the Gates–having nothing in common with Niacin’s song–a very good heavy metal composition with Gary Moore-ish beginning; and The Last Whale with it’s jazz-like guitar theme resembling once again Gary Moore’s finest–The Loner. Of course the song you’re going to recognize immediately from Patrick’s successive recordings is Burn Out, an uptempo neo-classical composition, which acoustic version made it’s way into Patrick’s On the Edge. The album closes acoustic track World of Silence.

All in all, this is an interesting album. Not essential, but good nonetheless. Worth listening to when you’re in a mood for good old–though fast and complex–hard rockin’.

This might well be Rondat's best album. It consists of heavy guitar-orientated symphonic rock, fully instrumental, featuring all characteristic elements of Patrick Rondat's style. For people who are not too fond of Malmsteen shred 'n slide techniques (as many arpeggios as possible per minute) or don't like the experimental edge to Vai's or Satriani's music, Patrick Rondat offers something wonderful. And, of course, for anyone who enjoys a good instrumental guitar album from time to time, this might be interesting as well...

Patrick RONDAT is Jean Michel JARRE's guitarist. This album though doesn't contain music influenced by Jean Michel JARRE. The music is complex instrumental progressive rock/metal with very nice melodies and influences from classical music. There are a lot of good harmonies and tempo changes. Patrick is a true guitar maestro. Would you expect something else from a musician that's working with JARRE? Jean Michel JARRE also produces the album.

Behind the drums are the well-known drummer Tommy Aldridge (ex-Ozzy Osbourne, Whitesnake, Gary Moore and others). As always his drumming is very heavy and energetic.

The highlights on this album: ¯ The title track "Amphibia" that is split up into six sections, all with different moods.

¯ Antonio Vivaldi's composition "Vivaldi Tribute" from the concerto in G minor. "L'été" (Summer). Symphony in 3 movements "Presto". This track contains astounding guitar playing. Patrick used to play this piece as practise, and this is truly an intricate piece of work. The album's best track.

¯ Not very surprisingly there's a cover of Jean Michel JARRE's famous "Equinoxe IV". Here Patrick interprets it in another way. I love it!

¯ The neo-classic track "Burn Out" that is a live version of a track that was on Patrick's second album "Rape of the Earth". It's so skilfully played that it's hard to believe it's a live recording.

The CD comes with a cover booklet containing comments from Patrick about each track, and a great artwork showing a frog on the front cover. This is a masterpiece that's highly recommended!