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JEAN-PIERRE LOUVETON

Crossover Prog • France


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Jean-Pierre Louveton picture
Jean-Pierre Louveton biography
Born 1970-06-30 (Le Puy, France)

Jean-Pierre Louveton is the guitarist from the promising French progrock band NEMO and records since 2002 under the moniker JPL. This is his third solo album featuring the new NEMO bass player Lionel B. Guichard along other guest musicians.

Why this artist must be listed in www.progarchives.com : Nemo guitar player has succeeded to make a pleasant and varied album that has some echoes from NEMO but in general sounds very original featuring JPL his fiery and heavy electric guitar work.

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JEAN-PIERRE LOUVETON discography


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JEAN-PIERRE LOUVETON top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.30 | 10 ratings
Bienvenue Sur La Terre
2002
3.24 | 10 ratings
Noir & Blanc
2003
3.50 | 19 ratings
Cannibales
2005
3.47 | 24 ratings
Retrospections - Volume 1
2008
3.93 | 39 ratings
MMXIV
2014
3.90 | 31 ratings
Retrospections - Volume II
2016
3.99 | 114 ratings
Le Livre Blanc
2017
3.63 | 40 ratings
Retrospections - Volume III
2018
3.90 | 89 ratings
Sapiens Chapter 1/3: Exordium
2020
3.90 | 53 ratings
Sapiens Chapitre 2/3: Deus ex Machina
2021
3.91 | 34 ratings
Sapiens Chapitre 3/3: Actum
2022

JEAN-PIERRE LOUVETON Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

JEAN-PIERRE LOUVETON Videos (DVD, Blu-ray, VHS etc)

JEAN-PIERRE LOUVETON Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 1 ratings
1994-2024
2023

JEAN-PIERRE LOUVETON Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.15 | 4 ratings
La machine
2020

JEAN-PIERRE LOUVETON Reviews


Showing last 10 reviews only
 Sapiens Chapitre 3/3: Actum by LOUVETON, JEAN-PIERRE album cover Studio Album, 2022
3.91 | 34 ratings

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Sapiens Chapitre 3/3: Actum
Jean-Pierre Louveton Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars As one can tell from the title, this is the third and final album in the series from Jean Pierre Louveton, guitarist with Nemo. There are many more musicians involved with this one than the last, but drummer Jean Baptiste Itier (also of Nemo) is still there, the only musician to also feature on the last two releases, which were basically solo ventures by Louveton. Lyrically this concludes the trilogy about human history, all in French, but musically it is so closely related to his time with Nemo that fans of that amazing band (undoubtedly one of my very favourite French acts) need to get this not only due to JPL and Itier playing on this but directly due to the musical qualities.

Louveton has a love for the symphonic, yet also enjoys crunching his guitar so the combination is always an interesting mix, so much so that he has been indicated as crossover within PA but that is because he crosses so many different sub genres within the progressive scene as opposed to playing music which could be thought of as part of the crossover sub-genre itself. He is a musician who follows his own style and the result is an album where the listener is never sure where it is going to go, just that there will always be plenty of guitars, some nice symphonic keyboards and orchestral moments, and someone who knows exactly what he wants to achieve. The result is an album which is thoroughly enjoyable the first time it is played, but the more it is listened to, the more layers there are to uncover. Apparently, this is also now available as part of a 3 CD boxed set containing the other two albums in the series, and that will be a delight.

 Sapiens Chapitre 3/3: Actum by LOUVETON, JEAN-PIERRE album cover Studio Album, 2022
3.91 | 34 ratings

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Sapiens Chapitre 3/3: Actum
Jean-Pierre Louveton Crossover Prog

Review by alainPP

4 stars JPL is therefore releasing its latest opus-baby on homo sapiens, an album supposed to talk about musical progression in a territory that is unfortunately dying; let's go for the note.

'Paradis Perdu' for a bluesy rock with a nice progressive intro, that's enough. 'Mon Cercueil' with a more marked bluesy side, accompanying the voice which is still too captivating for me; the ai is in line with the 70's just by the vintage keyboard, yes I am thinking here of ANGE; the variation with choirs is intended to be shimmering, it starts by mixing vintage, blues and French rock, a layer of jazzy synths comes to stir up trouble. 'Alias (La machine²)' more nervous, choppy, based on a text that must be assimilated to avoid being taken by the narration. 'Dance Now' percussions ahead, title which does not look like much, amalgamation of various used sounds, then boom the folklo-medieval break which flows all by itself, guitar, biniou and clarinet for a seductive buff. 'Memento Mori' for the master piece, you know the thing you're telling yourself there, it's going to be good! and it's very GOOD! Walking on a bald mountain in the distance, and not towards the unknown, time flees since this linked subtitle surfs on the orchestral quality of the previous one; The death of the king with the introduction of the text and always this plus/minus, that of sitting down to listen and the voice and the guitar which takes over a very singular bluesy variation, letting the spirit wander, a sign of good quality; 'Paria' arrives suddenly... clean cut for a disconcerting jazzy space, but how good is it. In fact it's prog because it lasts a long time, it's varied, fresh, changing, evolving and... difficult to transcribe, so only one solution, grab this album and make up your mind, but do it. 'Acta fabula est' yes it's not over, this last title further consolidates the atmosphere of this trilogy: admirable, not that I'm fanatical without thinking, but to confirm that there is great art, rock art below; the festive riff, Balkans or throne fair is there to energize this album.

JPL scored a good point with this 3rd album of... its trilogy; the first was very good, the second the same as I expected more; this one where I didn't expect anything more so as not to have too much expectation, seduced me with the finds, the creations of musical style and the sound inventiveness; this album is really a great moment. Only problem the first titles not intense enough avoiding me to put 5 stars.

 Sapiens Chapitre 3/3: Actum by LOUVETON, JEAN-PIERRE album cover Studio Album, 2022
3.91 | 34 ratings

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Sapiens Chapitre 3/3: Actum
Jean-Pierre Louveton Crossover Prog

Review by JohnProg

4 stars With a style that combines the most traditional forms of progressive rock with the strength of hard rock-heavy metal, Jean-Pierre Louveton set out to make a trilogy of "SAPIENS CHAPITRE" albums (with a dystopian science fiction theme and certain allusions to the condition human), which would end with the album "Actum". It could then be thought that it is a pretentious work -partly due to the idea of ​​touching on transcendental themes-, but the truth is that the music -which is what should matter most to us, since the lyrics, no matter how deep they are, music don't say anything- it doesn't get to be excessive both in duration and in stylistic resources, rather what we have is an album that reminds us of the old creative and adventurous spirit of the progressive bands of the 70's. All the instruments complement each other to create counterpoints between varied melodies and strong moments (as in "Dansez Maintenant" where a powerful riff gave way to a folk-style melody played by an electric guitar and a hurdy-gurdy). Even in the last composition "Memento Mori" of 23 minutes in length, the themes develop naturally - from small orchestrations to more jazzy moments - without giving the impression that we are facing an epic or definitive work.

I recommend not only listening to this interesting album but also reviewing the complete trilogy, which both lovers of classic progressive rock and enthusiasts of more modern proposals may like.

 Sapiens Chapter 1/3: Exordium by LOUVETON, JEAN-PIERRE album cover Studio Album, 2020
3.90 | 89 ratings

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Sapiens Chapter 1/3: Exordium
Jean-Pierre Louveton Crossover Prog

Review by ElChanclas

4 stars As the album title states, this is the first chapter of the Sapiens trilogy and 9th studio album by French multi instrumentalist Jean-Pierre Louveton, and is my point of entry to his solo work.

The all instrumental Mastodontes opens the album with some horns & string arrangements bringing the first heavy and memorable metal riff, outstanding doom-like track with magnificent instrumentation.

Homo Sapiens smartly blends in and represents the first challenge for me, the vocals are in French! Don't worry, it really doesn't matter because the music is so bloody amazing that it makes the whole thing look, sound and feel appealing. Middle eastern guitar licks emerge from Louveton guitars and deposits the first hook. BTW, he also plays bass guitar and does all arrangements in this album, my god!

Ecce Homo is the 2nd instrumental track of the album and is more evidence of this guy's excellent song crafting and is also the perfect bridge for the next highlight, A Condition, one of my favorite songs here. Rocker, jazzy, bluesy, heavy, memorable, catchy, melodic, immense! It also kind of works as prelude to the unearthly Le Chaud et Le Froid, my definite favorite! This amazing song has everything I crave on in progressive rock with a little downside with the female narrative vocals, which kind of remind me of those on Eloy's Dawn, thank god in this case much less pungent. The Gaelic harmonizing between the piano, the bagpipes and guitars is simply fenomenal, enough to fall in love forever with the album.

And when you think that it just can't get better, Mr. Louveton unleashes his finest artillery and presents another set of twin tracks in Planetè A and the album closer Alpha Centauri. Back in the game are the heavy riffing, flawlessly layered to welcome the fat bass and intricate drumming and soundscape arrangements, How can it be possible? (That's why I think I hear him singing in French, coincidence?)

Epic seems like something very familiar with this guy, that's how he treats his music, like epic music because the whole album is totally epic and this ending is proof of that statement. Honorable mention to drummer Jean Baptiste Itier who sounds enormous and amazing throughout the whole trip, a perfect partner for JPL and his rhythmic creations. I can't recommend this album enough, give it a try, it is both interesting and perfect top to bottom! Enjoy!

 Sapiens Chapitre 3/3: Actum by LOUVETON, JEAN-PIERRE album cover Studio Album, 2022
3.91 | 34 ratings

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Sapiens Chapitre 3/3: Actum
Jean-Pierre Louveton Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

4 stars The intrepid Jean-Pierre Louveton has made a name for himself with French prog band Nemo, with ended its run of brilliant albums in 2015 with the startlingly amazing Coma, deciding to embark on a full-fledged solo career which had already paralleled the band with a series of delicious albums under the moniker JPL, beginning in 2002, Le Livre Blanc (2017) being a masterpiece in my mind.

JPL undertook a huge epic task ,a three-section opus on the human condition (a French fascination with celebrated names like Malraux, Pascal, Zola, Baudelaire, Voltaire, Hugo, Proust, Camus etc..), labelled Sapiens, all three have gorgeous artwork that has created quite a commotion as well. Chapter 1 Exordium (2020), followed by Chapter 2 Deus Ex-Machina (2021) and now Chapter 3 Actum (2022). The first two chapters have received huge critical acclaim, but I will review first this third one, as it is, IMHO, the finest of the trio. In fact, JPL with compile all three into one boxset, with even more glorious artwork, a gift I fully intend to give myself.

For those who are unaware of Louveton's musical qualities, let me state for the record that he is an exceptional electric and acoustic guitarist as well as a fine vocalist in the theatrical French prog tradition (Le Guennec, Decamps, Balzer etc..). He provides an equally deadly bass guitar as well as occasional keyboards. He has a compositional style down pat that highlights melody, harmonics, technical bravura and lyrical commentary (mais oui, it helps to know French). He has always demonstrated prolific tendencies, a mind constantly creative and adventurous. The very first moments set the standard to follow, as an ominous electronic burp morphs into a hard-jazz groove that is truly ear-catching and most pleasant.

"Paradis Perdu" has a crispness, a slash and burn methodology, and a chugging sizzle that are hard to ignore. Nemo drummer Jean-Baptiste Itier propels forcefully as JL rants in Gallic splendour, hushed, raging and exalted, as per the style. His guitar uncorks a humble rip, a prelude of what is to follow further down the setlist. "Mon Cerceuil" is a lazy furrow, eventually evolving into a choppy lament where flute delicacy and rhythmic dread co-habitates skillfully. Drummer Florent Ville taps hard and fast in maintaining the jumpy almost funereal ambience, slowly elevating the angst level with added effusive bombast, as the e-guitar twirls mightily. The outro is a gentle whimper of resolution. Sounding more like classic Nemo, the steamrolling "Alias (La Machine2)" offers desperate vocals, underpinned by harder axe blasts, a slippery bass, berserk synths as well as Ville's thunderous pace. Brash harshness defines the mood here, a pulsating piece full of bold defiance. Other Nemo colleague Guillaume Fontaine helps on keys. The sadness surfaces on "Dansez Maintenant" (Dance now), JP's melancholic vocals serving to set up the almost ZZ Top like rhythm guitar onslaught, as the duet of electric guitar and synths then parallel each other defiantly, in a terrific setting, adding a lovely hurdy-gurdy tidbit to the loud guitars. Very cool and very French.

Epic time as the 5 parts "Memento Mori" lunges ahead, with its running time of 23 minutes. Orchestral maneuvering sets the tempo, a welcome classical overtone that will supply fabulous contrast to the glorious guitar march towards the unknown, choir mellotron in tow. The tortuous frets twist in unison with the bass and drums, creating a glum, almost war-like atmosphere, Itier once again demonstrates his percussive skills with some solid touches. JP delivers hushed yet angry vocals, as he fulminates over the human condition, occasionally tossing sweeter segments verging on insanity. Did I mention theatricality earlier? Even if one does not speak French, the gist will appear in his delivery clear as fractured crystal. The bass pops like the best corn, as the guitar goes on an extended rant, with that patented frizzy overtone that JP seems to favour. Ornate piano from Stephanie Vouillot adds a touch of drama, and a lovely as well as unexpected jazzy soprano sax solo (Sylvain Haon) seals the deal. Nothing sedate, all the material is jumpy, nervous and edgy. The tremendous fifth part pitches in wobbly bass, bombastic mellotron choirs as well as sensational keys, propellent drums and the usual marvellous guitar reflections.

An excellent conclusion to the series, again all three releases combine to provide an amazing modern prog ride, JPL is an artist that needs your attention and support as Nemo was a highly rated and appreciated member of the prog community, and his solo stuff is just an onward journey.

4.5 keepsakes of the dead

 Sapiens Chapitre 2/3: Deus ex Machina by LOUVETON, JEAN-PIERRE album cover Studio Album, 2021
3.90 | 53 ratings

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Sapiens Chapitre 2/3: Deus ex Machina
Jean-Pierre Louveton Crossover Prog

Review by alainPP

4 stars JPL is releasing its 10th album, the second on the Sapiens trilogy. JPL is Jean-Pierre, singer and composer of WOLFSPRING and above all of the giant NEMO, with an appointed sweetness for both the group and the composer. A second part with influences from large progressive groups in the background. The sound is fresher, more current, more Cadbury or also Canterburyen; a very nervous crossover album. Cover of Stan W. DECKER graphic designer of large engines too. JPL who ages well, even too well, we slip into his homomusical universe.

"Le Flambeur" rock intro guitar forward, you will have to get used to it this guitar is the locomotive of this second opus, development based on a screaming, high-pitched guitar, but also recognizable among all, rock- pop of good quality, voice which tells you that he worked at the SNCF, which recites a little the big illnesses of the DSM-5, "duke" synth from GENESIS, progression in the literal sense of the term, mid-term development and leaked notes on a progressive rock base; it is the guitar that holds the title with its energetic convolutions with a more bluesy or dynamic boogie finish. "Deus ex Machina (1): La Machine" more rock pop, melodic, piano keys in unpretentious declination somewhere until a rise and a put?. solo from JPL, one of those you want to listen to again, simple and playful ending; in short, the gods would have really used a machine to come to us. In any case, the flagship track-45 rpm of the album, track where the voice slips into the flawless rhythm. "Deus ex Machina (2): A play to govern us all" intro that puts you in a trance from the start, the voice going better, I get used to it, more rounded. The guitar solo that draws its note, that melts you, piano break, vibrato solo, backing vocals after this moment of musical wisdom; a crescendo title in the right format where you never get bored and where you can navigate on sight in the prog area; a title which gives pride of place to the criticized, blasphemed but rediscovered guitar.

"Scorched Earth" enjoyable symphonic intro, lyrics clear enough to lend an ear, to an tune of "Rap Tout" by UNKNOWNs, yes I put my memories there even if it may seem strange to you, in fact I 'assume that you know how to read me with avidity !, I who usually take the voice as an instrument here is voice and instruments; break with synths and the nervous lurking guitar and it goes slowly to the point where you forget when; melodic prog rock with diffuse drawers, strange French typicality on a well-brought musical background. "Still human?" »And sound of Crimsonian spleen on the attack, guitar that may make you cry, a little flute, well GENESIS does not turn any more, synths that fall into the progressive avant-garde atmosphere, the xylophone, that's it we got off to a good start in this dreamlike prog universe with an indecomposable and inexplicable playful rhythm; the voice makes you go back to earth, my flat again, then the organ at the ANGEL allows you to set off again for a few moments in this forgotten world, in short, the major piece of the album brings soul back here and you?

JPL didn't kill NEMO, he transcended it, he shaped it; I was sad at his withdrawal; but JPL like a phoenix rising from its ashes released its second opus which I find a little more behind than the first; be careful, it's beautiful, it's good just that the last song showed me that he was capable of really big songs. And his two traveling companions from NEMO too.

 La machine by LOUVETON, JEAN-PIERRE album cover Singles/EPs/Fan Club/Promo, 2020
4.15 | 4 ratings

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La machine
Jean-Pierre Louveton Crossover Prog

Review by alainPP

4 stars Would the Gods no longer be able to (re) descend to earth? It does not matter, the machine is there to give them a helping hand, to grant their wishes. "Deus ex Machina (2): A play to govern us all" intro that puts you in the mood from the start, the voice that goes better, do I get used to it ?. The solo that draws its note, that melts you, piano break, vibrato solo, backing vocals after this moment of musical wisdom; a title in the right format where you never get bored and where you can navigate on sight in the prog space, in short, the gods would have really used a machine to come to us? The track single from the second album of the "Sapiens" trilogy is finally in the bins to change your mind about this never-ending pandemic.
 Sapiens Chapter 1/3: Exordium by LOUVETON, JEAN-PIERRE album cover Studio Album, 2020
3.90 | 89 ratings

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Sapiens Chapter 1/3: Exordium
Jean-Pierre Louveton Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars JPL are back with their latest album, and while there are some guests on a few numbers this is for the most part Jean Pierre Louveton (guitars, bass, vocals, arrangements) along with his Nemo bandmate Jean Baptiste Itier (drums). Louveton has long been one of my favourite French progressive musicians, and I have always really enjoyed both his work as an integral part of Nemo and JPL (for some reason I have never heard much Wolfspring, really need to resolve that), and this is no exception. Unlike many progressive bands, here the guitar is often front and centre, and there is always loads of space within the music which allows plenty of room for Itier to also shine. All the lyrics are in French, as is the well-designed digipak and booklet, but unlike some I have no issue at all in listening to vocals where I have no comprehension of what is going on, as for me they become another instrument.

The orchestral introduction to the album soon gives way to the progressive music of JPL, where he happily goes from crossover progressive into fusion, neo, symphonic and also bringing in styles outside the genre. But the important aspect here is the sense of balance throughout, as there is reason for everything, and we are taken on a journey which also makes musical logical sense. With the two main musicians having worked together for the best part of 20 years together they have a solid understanding of what needs to be done in the studio. The English news clip at the beginning of 'Le Chaud et le Froid' has one musical style, yet when the songs starts in earnest we are treated to layered acoustic guitars, piano and vocal harmonies which lift it to a whole new level. Louveton continues to deliver albums which are packed full of classic songs, and one is taken to a world here it is only the music which exists and at the end one simply has to play it again. His understanding of dynamics and space are exemplary, and there is always the feeling of no need to rush and that is everything ahs been carefully considered with each layer having a part to play. He rarely allows himself the delight of really showing off his soloing skills, but he has them there in spades, and when the time is right, he lets loose to provide the dynamics and contrast required. Yet another outstanding album from JPL, both the band and the man himself.

 Sapiens Chapter 1/3: Exordium by LOUVETON, JEAN-PIERRE album cover Studio Album, 2020
3.90 | 89 ratings

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Sapiens Chapter 1/3: Exordium
Jean-Pierre Louveton Crossover Prog

Review by alainPP

4 stars JPL released their 9th album at the start of the year, distilling a very NEMOsian sound but also fresher, more nervous, as if it had drawn a bit from the notes of WOLSPRING. An energetic album, sailing far beyond the PROG universe with eclectic, crossover, jazzy and bluesy atmospheres in addition to those symphonic, orchestral. 3 chapters for this new album and a 1st symphonic title at will on a nervous guitar, the time to warm the ears and to acclimatize with the different climates proposed in "Mastodonts"; a progressive orchestral piece opening Erectus, thunderous. "Homo Sapiens" continues on a Zeppelian sound like "Kashmir", a little oriental title, Jean- Pierre's guiare is here recognizable among all for its specific rendering, capable of passing from a nervous air to another fluid, then to a cascade. The voice passes well not too put forward and integrating in fact; "Ecce Homo" follows with a new, more jerky orchestral, on a varied declination of synth-piano, a beautiful moment reminding me at times from afar certain notes of the bald mountain; there is linear progression as if to close in the most beautiful way this 1st triptych. "A Condition" begins Exitium on a track reminding me the most of NEMO here, the voice in the center distilling its text and the instruments scattered around as if to magnify it; the guitar is splendid in rhythm with Crichton sounds from SAGA, I love it. The solo which arrives draws more air bluesy then launches more psyche notes, to note the final with a very bright synth break; "The Hot And The Cold" continues with a sweet melody on the piano, Stéphanie lending her voice to it with air on the acoustic guitar, a little resemblance to the LAZULI group in my opinion, a group with which he has already worked; the arpeggio of the piano is beautiful and delicate, there is also the old wheel, then energy with synth and guitar riff which bring up the sauce of the title; long orchestral and symphonic break well punctuated for an air that stays in mind ; end with return of the basic piano and the last verse then resumption of the characteristic, metronomic guitar by Jean-Pierre. Exodus comes to finish this triptych with "Planet A", a simple title, intimate, then which goes up without exploding, but which is likely to give you the thrill, listen to it is better! "Alpha Centauri" ends here the album with a bluesy composition, then jazzy limit which gives in the rhyme; then a small variation of well targeted adjectives before leaving on a dithyrambic progressive final with a very oily guitar there. a great album,simply.
 Retrospections - Volume III by LOUVETON, JEAN-PIERRE album cover Studio Album, 2018
3.63 | 40 ratings

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Retrospections - Volume III
Jean-Pierre Louveton Crossover Prog

Review by alainPP

3 stars JPL, Jean-Pierre Louveton is a guitarist who has worked on the legendary NEMO Group (one of the groups operated with less prog MINIMUM VITAL which by its musical quality and his texts would be good for the French music scene, but I digress!) and more WOLFSPRING sounding prog metal. It appears this assumption of 3 volumes of unreleased tracks dating back to the 2000s and re-recorded, of which this is the rock, but not that. He is accompanied by ITIER Baptist jeans. These parts are listening to represent the work of guitarist. His style of music is rather complex, its rhythmic compositions often making a mix in my opinion between NEMO and its parallel project more nervous. From "A finger on the trigger," one starts on an air of MORRICONE well catchy, kind of intro melodies; "A strange idea" hangs over the targeted text "Luvmoovs" with a basic beat and singing in English not so obvious to me, but the guitar solo and end with a nervous riff worth seeing. "Illusions" calls by its intro, her soft voice whispering women and a masterful solo part 2, bluesy limit, cool, clear. "On the slippery slopes of madness" comes to development prog "well made" with convolutions prog-metal FM around the guitar is purely enjoyable; it is also one of the titles over 6 ' perhaps a cause and effect relationship, at least if we drag with this music, it's tempting! "No Speed ​​Limit" as an interlude instrumental that Satriani or Vai could have put in one of their albums, just to say that the person using it there are good vibrations. Rest 3 tracks including "Away" and another development prog with his captivating intro, his break with some bells to warn us even more retro- progressive movement declination prog chorus after chorus verse couplet. "My comet" is posed with a louvetonien solo, a quiet atmosphere with keyboards to enjoy the "prog French". Finally, "My darkest hour" on the same starting structure, a title with soft keyboards, acoustic guitar, chorus, and then a flight to NEMO To complete this column, know that ¾ hours, here you can get an idea of ​​what the two above-mentioned groups have come out in recent years. My flat voice comes too common, too incisive in my opinion while the guitar just erase this fact through beautiful arpeggios; it is not the classic progressive rock of course, but the breaks and other convolutions lurking inside this album make room to (re) discover.
Thanks to erik neuteboom for the artist addition. and to Quinino for the last updates

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