XII ALFONSO

The preceding review by PlanetRodentia2 says it all. XII Alfonso classic prog credentials are quite evident as their body of work is concerned. So, one having a superficial listen on this one may think that Djenné is devoid of that "prog principle". This would be a gross error. Yes nothing can be furthest of prog than African music and rythms. And that's why exactly this record is oh! so proggy! The whole concept is sort of revolutionary for occidetal ears accustomed to certain musical choices. A courageous option and one which will test the openess of many a prog afficionado. At the end a very rewarding listen.

After XII Alfonso released their delightful 3-CD exploration of the life and work of Charles Darwin, their longtime drummer and friend Thierry Moreno passed away. Rather than give up, they honored his memory by embarking on a musical adventure replete with a variety of African percussion sounds. This new CD, Djenne, is a step outside the box, a progressive folk album that relates the legend of how Islam came to the city of Djenne in Mali and how the mud mosque there is maintained by people of all faiths to this day. By drawing on the talents of French, Malian, Senegalese, and English musicians and songwriters, XII Alfonso demonstrate that tolerance, understanding, and a desire to find common ground can be very fruitful and invigorating - healing, even.

The first thing I noticed about this album was that it was predominantly in French, the official language of Mali. The liner notes are also in French, but there are English translations/summaries in the back. The music is markedly African instrumentally (e.g. xalam, djembe, bougarabou, balafon, African flute, oud, masinko), melodically, vocally, and rhythmically and comes across, at first, as an African folk album rather than a progressive rock album. However, by track 3, there are subtle hints of rock instrumentation that peek through. The rock element is supportive and respectful and does not overwhelm the folk nature of the music. Genre mixing becomes obvious in Track 5, which has an almost country flavor to it. By the middle of the album, pop rock influences and instrumentation have intermingled significantly with the folk aspect. An obvious example of this is Track 11, which takes material from "Hotel California" by The Eagles and slowly transforms it into an African song. Similar genre-bending continues to occur throughout the album. The great delight is hearing the alien transform into the familiar and then back again or commingle with the familiar to make something wonderfully different. By the end, we reach "Mali blues," a beautiful, reflective piece that boasts restless drums - saying goodbye to a beloved place with worry in your heart.

I have never heard a progressive rock album like this before. Although it brings world music from Mali to mind, it is serenely not that. Although it feels very much like folk music, the genre-bending makes it something else. Like most folk songs, none of the songs are particularly long, but they do boast the complexity inherent in African music, plus the lapidary stylings and genre transformations common to some progressive rock music. Perhaps this is something new.

Djenne is a glass of lemonade on a hot day, shade from a blistering sun, and a balm to the frantic soul. After listening to Tiles (a lot), Burst, Nemo, Green Carnation, The Dear Hunter, and the like, this is a breath of fresh air. The tunes are engaging and memorable. I can't fault the musicianship - it's amazing stuff. My command of French is poor, so I cannot comment on the lyrics, but I can say that they are delivered with honesty, emotional depth, wit, and, dare I say, some ham acting in spots with great effect. If prog folk is your thing, you might find this to be a five star album. If you enjoy the Middle Eastern stylings of Orphaned Land and Myrath, you will be intrigued by the very different sounds of Mali, as long as you aren't expecting anything remotely like metal. If you are expecting another Charles Darwin, you will be shocked and disappointed. I like it, and, given it's unique and perhaps seminal nature, I'm tempted to rate it five stars. Time will tell if that rating is merited. For now, I'm granting it 4 stars. Here's hoping that other prog bands delve into this region of Africa for inspiration with the same respect shown by XII Alfonso. It's a wonderful, loving postcard, and I wish them well. Thierry Moreno would be proud.

A trully impressive concept and a rich artistic package (52-page booklet illustrated by two young artists from Bordeaux, Guiral Claire and Philippe Poirier) is unfortunately supported by a no more than mediocre album, which undoubtfully serves the needs of covering Monet's life, but ending up to be only good for background music.Any symphonic moves are completely sidelined and the album sounds like a mix of Spoken Word, New Age and Prog Folk, styles with which XII Alfonso were already familiar with, but this time the final result is far from impressive.Too many lyrical passages and a very mellow atmosphere with folky and light Classical underlines, mainly performed on piano, is not the best content for a work with such an impressive background.The music is heavily relying on acoustic guitars, accordion and piano with occasional dashes of flutes and keyboards, there are even some Chamber Music arrangements and MIKE OLDFIELD-like soundscapes in here, but the flow just isn't there and the dynamics are much needed than ever, despite some good cinematic atmospheres.16 tracks as a result and only a few of them are above average, some intense symphonic electronics and a sporadic grandieur between acoustic and Film Score-like orchestrations are signs that the band was capable of producing something more intense and atmospheric.Because the rest of the album is too soft, often resembling to French Chanson or Acoustic Folk, lacking the nerve to become trully competetive, albeit some careful arrangements.

Dissapointing album.Great concept behind, but musically too smooth and calm, propably working better as a Soundtrack than a Prog Rock album.So I would recommend this mostly to anyone in love with Film Score Music.Prog Rock fans will be merely left unsatisfied.

Over an hour of dreamy and etheral Prog Rock music with strong symphonic, Folk and New Age references is XII Alfonso's proposal in an album split in electric- and keyboard-led compositions.Influences are definitely acts and artists such as MIKE OLDFIELD, CAMEL, DAN AR BRAZ, while some tracks feature excellent vocal performances by Sandrine Rouge, Judith Robert and Laure Oltra in a very poetic way.''Odyssees'' is basically characterized by its laid-back, very sensitive and imaginery soundscapes created by the Claerhout brothers with the music being based on soft piano lines, synth explorations and delicate acoustic themes with a folky vibe.There are also lot of ethnic percussions among these New Age moments.On the contrary the group gives also rise to some excellent and ultra-melodic electric parts in specific moments, these have a nice refined sound with a bit of a CAMEL approach.Organs and synths are supporting instruments in these lovely instrumental pieces, which are definitely influenced by the Classic Prog era.Again the major problem seems to be the lack of some more energetic parts, as ''Odyssees'' sounds often like relaxed Soundtrack Music than an album created by a Rock group.

The Claerhout family affair seems like one of the best in creating minimalistic but trully outlandish music landscapes and this album is another major proof.Recommended, especially if acoustic textures and really atmospheric moods are among your preferences.

Something superlative without a doubt. As the title implies, the album is inspired by Charles Darwin's legacy, constitutes a musical biography so to say. Philippe Claerhout (guitars, bass), Francois Claerhout (keyboards), Thierry Moreno (drums) and Stéphane Ducassé (flutes) took around two years to move along the footsteps of this naturalist, who had radically changed the understanding of biology in the 19th century. Unfortunately Moreno passed away in 2011 and could not witness the release of this album for what I know.

First CD covers the growth of Darwin, ending with his extended circumnavigation crossing the southern hemisphere, which must have been the most impressing experience in his life. Maggie Reilly, known for her collaboration with Mike Oldfield, was accorded the honour of opening the opulent guest vocal list with the first catchy song Earliest Collections - 'Goodbye Old England ' ... the optimistic HMS Beagle is highly melodic where the mystic Captain Fritz-Roy belongs to my favourites due to a psychedelic flow.

Second CD accompanies Darwin's theoretical phase and offers some lovely ballads like So many years and Downhouse for example. 'Deep in the sea, the body is dead ...' - The Coral Of Life thrills me a lot due to a slight hallucinative mood which passes over into a nice groove later, cool saxophone as well as fretless bass and wonderful vocals provided by Sand Roman Garcia again. I would also count the instrumental The Island Of Devil's Riding School to the highlights which shows the four protagonists nicely interacting, only accompanied by Mickey Simmonds on keyboards.

Third CD notes the release of Darwin's book 'On the Origin Of Species', the eponymous song strikes due to the lovely female voice of Vietnamese Huong Than. The dramatic Slace Makers shows them rocking yet again including full prog sentiment and nice electric guitar work, which also applies to Mysterious Illness where Francois Claerhout convinces with some nearly outraged synth contributions. And then the successfull Vision Of The Inner Mound bears a fusion vibe. 'Forever lying there, a simple man ..." - Darwin's burial in 1882 finally is represented by the closing song, missing any depression or pessimism though, just accepting this as the irreversible part of life.

An album consisting of three hours needs a lot of time and patience in order to assess. 'Charles Darwin' resembles a cornucopia of impressions - diverse native folk/ethno sentiment, pop, chanson, chamber, flamenco, rock - to name a few only - relaxed music in the majority which is suitable for background listening in the same way as for concentrated sessions. Take your time and you will dig a lot of details - for example synths which imitate frogs croaking aso. Lyrics and rants are given either in French or English.

Now this is made of an obvious cinematic vibe, cries for a spectacular movie. The ultimate sound for such a project is put on the table already. The rocking component takes a backseat here, you must know, and with some reason one might argue about the prog character in its entierety. Although not belonging to my favourites, it surely is an awe-inspiring work. Embellished by a fantastic booklet and the outstanding singer Sand Roman Garcia the album will find enough interest and fans ... if it can reach for the necessary reputation.

Assume all tracks in this review are instrumental unless vocals are pointed out.

Vol 1: 1809-1835 - 60'14

`Collection One' is a gorgeous low-key piano and bass intro, while `Earliest Recollections' is a folk influenced rocker with female vocals in a similar style to Mostly Autumn. It has the same plodding beat as that band, with tasteful acoustic guitar and electric solos throughout. `Stolen Fruits' is a moody dramatic instrumental highlighted by cello, mandolin, classical guitar and recorder. `Physics and Hunting' is a very upbeat accordion driven folk jig in the tradition of Malicorne and Mostly Autumn again, with killer synth and guitar runs. `Silent Battle' is my least favourite track on this disc - a semi schmaltzy Beatles influenced ballad with a forced Fish-like vocal that is a little too cute for my liking. `Collection Two and Three' brings us back up with a gorgeous acoustic guitar solo backed with striking clarinet. The first longer cut `The Bump Of Reverence' is a jammy fusion improv full of evocative sax/flute and acoustic guitar, with a wailing but melodic electric guitar solo. The band are very relaxed and loose on this one! The two part `Leaving England ' begins with a short classical guitar interlude, then grand male vocals join in the heavier second half to continue the narrative. `The Letter From Henslow' has a quirky Mellotron/synth/keys heavy sound amongst some funky bass and percussion, with slight Canterbury influences in the flute. `HMS Beagle' has a very full-of-life male vocal in the chorus, with an upbeat dreamy quality to the acoustic playing. `Collection Four' is a 30 second reprise of an earlier musical theme played on glockenspiel. From here the album heads in a very different direction! `Captain Fitzroy' has a world-music style wordless sighing female vocal behind Gilmour-like guitar licks and Fender jazz-bass. `Straights of Magellan' has a very moody intro before electric piano, triangle and Spanish guitar rip into something Andreas Vollenweider might perform. Tasteful acoustic instruments, castanets, flute and strings weave throughout the dancing melody. After narration, the longer `Terra del Fuego' has an atmospheric and spiritual quality with drifting sax and percussion and delicate acoustic guitar. Then the drums and majestic electric guitar enter, with contrasting male/female vocals floating through the music with a choir at the end. An album highlight! `Darwin's Finches' is a nice come-down, a near-ambient Vollenweider-styled piece with female Oriental vocals in the first half, before an unexpected fusion-styled groovy bass, drums and electric guitar explosion in the middle! The disc wraps on `Homeward Bound', a short and pleasant ukulele and sax instrumental.

Volume One stands as a wonderfully varied and balanced combination of instrumental and vocal pieces that would stand as a successful single progressive album any artist could be proud of.

Vol 2: 1836-1858 - 60'05

The more vocal/narrative heavy Vol 2 begins with another acoustic variation of the main `Collection' theme before mid-tempo acoustic rocker `So Many Years' kicks in, with a catchy melody and raspy male vocals. `Strange Fossil' is a mysterious ambient piece with flute and cello. `Emma and Charles' is an emotionally sung if somewhat overwrought duet. While it has an admirable lyric about accepting and loving another despite different beliefs and opinions, it's full of awkward clunky lyrics that are admittedly very difficult to work into a catchy and accessible song. Lovely acoustic outro though. `The Coral Of Life' is an experimental piece highlighted by disorientating keyboards and sax, stream-of-consciousness rambling vocals with a groovy middle section, the bass mixed nice and upfront too. A brief accordion reprise of the main theme, then the wordy and slightly overambitious acoustic ballad `Down House', full of warm playing and a passionate vocal. `The Island of Devil's Riding School' is a world-music Vollenweider-styled piece, with lots of xylophone and other obscure instruments! The two part `Annie' has evocative French vocals and delicate cello, before another interpretation of the main theme on sax and flute, dirty bass and guitar over a simple programmed beat. `Beloved Cirripedia' is a whirling instrumental piece in grand symphonic prog style, full of endless variety and stunning playing. `An Ordinary Day' is sumptuous mid-tempo adult vocal jazz with a lovely accented female performance. The dark jazz on instrumental improv `Salting The Seeds' has lonely wailing sax, urgent percussion and exquisite piano. `Lenny' is an upbeat acoustic jig with the voices of children over the top. `It's Time To Write' is a somber acoustic ballad with male vocals and a nice Mellotron/sax instrumental in the outro that sounds not unlike Pink Floyd. An Oriental variation on the main theme closes the disc with the darker acoustic `Missing Links' sounding almost like the sophisticated female fronted pop/prog of Magenta.

Volume Two is still a very strong piece, with several stunning instrumental passages, only sometimes let down by trying to incorporate difficult concepts into workable song lyrics on some of the vocal pieces. Still endless things to enjoy on here, though.

Vol 3: 1859-1882 - 60'15

After a strangely vaudeville interpretation of the main theme, the semi-comical vocal track `Round Together' has a quirky and playful sound with a wonderful sax solo. A complex concept is attempted to squeeze into a poppy upbeat track in a fairly successful manner. `Descent With Modification' is a dark and moody jazz instrumental. Except for some brief vocals from Huong Thanh throughout, the classy Oriental based `Origin of the Species' is a mysterious and subtle instrumental with more of that evocative sax and lovely piano. `Controverse In Oxford' is a brief droning choir chant with almost middle eastern elements. A classical reprise of the main theme, then the band rips through `Slave Makers, a super-proggy spacey instrumental fanfare not unlike early Camel! One of the albums highlights, filled with gorgeous Mellotron and piercing Gilmour-like slide guitar! `L.H.C.A' is a somewhat repetitive interpretation of a traditional Irish piece, however it's beautifully performed by female vocalist Sand Roman Garcia. The lyric heavy `Somber Thoughts' is a reflective acoustic ballad with accented male vocals. We now hit a big stretch of instrumental pieces! The flute and acoustic guitar combination of `Collection Eleven' would not have sounded out of place on Camel's `Snow Goose' album. `Mysterious Illness' has contrasting somber passages with uplifting lead guitar and dramatic saxophone, and a synth/Mellotron heavy blowout in the middle, powerful drum-work too! A knockout track, possibly the best on the album! Again that Camel sound can be heard on the lovely flute and classical guitar of `The Copley Medal', then the funky `Vision of the Indian Mound' has middle eastern elements/synth-orchestration, classical guitar, fluid bass and spacey keys, while an endless melodic electric guitar solo weaves it's way around the entire track. Dripping with so much emotion and feeling, it's an amazing piece. `The Descent Of Man' has male/female vocals with more complicated lyrics crammed into a slightly awkward poppy song with a very wordy chorus, but it's full of terrific guitar solos. A final cello/guitar variation on `Collection Twelve', then the very strange loopy electronics, gloomy bass and piano racket of `Struggle For Existence' comes out of nowhere! The album finishes on the Flower Kings and Genesis-like uplifting and thoughtful `Darwin's Burial' with warm vocal harmonies and a soaring guitar solo. Despite a very abrupt finish, it's a very nice way to end the album, and one of the best vocal pieces on the album.

Volume 3's quality level is still very high, though perhaps by now we've heard all the real surprises the album has to offer. But the late run of several instrumental pieces and lovely finale really brings the album home.

Special mention must go to the stunning hardback 76 page book that houses the three CD's, filled with endless photographs, illustrations and lyrics, as well as further explanations of Darwin's beliefs and studies. It helps the listener understand the man's motivations and discoveries, as well as touching on some brief elements of his family life. It really raises the bar in how original and special progressive rock can be presented.

As someone who has followed strong Christian beliefs all my life, I was concerned I was going to find an insulting and negative album with `Charles Darwin'. However, with a musical experience as rich and sophisticated as this, full of outstanding progressive rock music presented in an intelligent and thoughtful manner, put together with so much devotion and skill, I am perfectly happy to accept the album for what it is. Other listeners with religious and spiritual beliefs will have to decide whether it's for them or not.

I'm sure there will be some arguments that the album might have made a better double album than a triple, but overall most of the music is of such a high quality, full of truly stunning playing, arrangements and performances, that the 3 disc format is justified. Perhaps it might have been even better if each of the three discs had a unique sound of it's own, other than being three volumes of endless varieties and genres overall. Although the vocal pieces are all generally effective, you really notice how much the album picks up and comes alive in all the incredible instrumental tracks. But if you are a fan of thought-provoking, intelligent and lush symphonic progressive rock, and you have the patience to persist in giving the 3 hour album repeated listens, you'll find a hugely satisfying and rewarding listening musical experience.

Four and a half stars.

I didn't like the album that much so I haven't really followed the band since I listened to it, but they have never stopped since 96. They had 6 albums before Charles Darwin (2012), the album I'll be reviewing in the next lines.

To say that Charles Darwin (2012) is a completely original project would be a lie. Many concept albums about famous characters were recorded during the years, especially within Progressive Rock music. The band itself already did that with their 2 volumes album about Claude Monet in 2002 and 2005. But here the band goes to a completely new level! Charles Darwin (2012) is not just a conceptual album, it is a whole big piece or art in music format. Based on the book On The Origin Of Species, written by Darwin itself, the album is divided into a 3 discs journey through the Naturalist life, every single move he made to accomplish his goals was covered with brilliant and involving music. Each album covers a period of Darwin's music and each one of them has one hour of music, 3 hours of music in total.

That's the one and only let down on the album for me, but let me explain first. I love this kind of conceptual albums and I love complex works, but 3 hours of music is a bit too much to focus on, so you'll have to digest it into pieces.

What makes the work even more amazing is the package, a digibook with hardcover material, just like a book, and it almost is, the booklet has no less than 76 pages in an excellent quality paper and press with all the lyrics, info, pics, notes about Darwin's life and a detailed part about credits and recording process (you can check this on their website - xii-alfonso.com/galerie-photos-livret-booklet/). 52 songs, over 3 hours of music and more than 20 special guests. Of course it was not an easy process, 3 years of the making.

It's hard to go into details, musically speaking, it is very, very hard. I've been sitting with this album for more than 6 months now, I have listened several times from the beginning to the end and for me, it's just IMPOSSIBLE to name songs and details. Why? It's simple. The whole work is a journey, a travel of mind, where you can put your phones on or drink your favorite beer and simply get into their world. If you take that apart, it will be very hard to understand their album. Of course that some songs, like 'Sillent Battle' that I already posted in one of our Podcasts (progshine.net/2013/01/podcast-3-020113.html) , 'So Many Years', 'The Coral Of Life' or 'Mysterious Illness' came into my mind. But the thing is, you really have to hear by yourself. The diversity is incredible. To help you to understand a bit many songs can be listened in this review that the band posted on their website and I advise you to do it, you'll not regret! Unfortunatelly, one of the head behind this masterpiece, the drummer Thierry Moreno passed away in 2011 after the group finished the recordings but before actually seeing the album being released.

But trust me, XII ALFONSO and Charles Darwin (2012) deserved my spot on my list of the best of 2012 (progshine.net/2013/01/progshines-top-10-2012.html) with all merits, if you don't know the band/album yet you should. NOW!

XII Alfonso is a French symphonic prog/neo classic music ensemble with some albums on their conscience. They are known as a acoustic symphonic prog band. Which is a pretty accurate description on this album too. Long semi-acoustic based pieces based on their local folk music tradition with a wide variety of instruments. The list of contributing musicians is very long. I am at a loss to explain what the instrument "musical glasses" is and how it sounds like.

I am all for long symphonic pieces of music. But I also want a bit of variations too. There is not much variations on this album. There is not much happening here too and not much variations. That besides of some electric guitars and some electronic voice samples + the sporadic female vocals. The whole album seems very over ambitious and disjointed. It feels like the band has bitten over more than they can swallow. The album is in short far too ambient and too little symphonic for my liking. The quality I expect from an album like this is simply not present. It is a pity, because I think the band is onto something. But they ambitions is far bigger than the abilities on this album. A stricter quality control is sadly lacking on this album. Hence my lack of enthusiasm. Two points for the effort and some pieces of music here.

2 stars

You can name it jazzy, ambient or whatever you like; but not symphonic prog. I have not been a passionate fan of their albums: from their debut ("The Lost Frontier") to the "Monet" saga; I have rated their albums with two stars. And this one falls in the same category.

Some synthetic electro beats during "Progress" aren't any of my liking to be honest and I was not really expecting this sort of music under the symph prog umbrella. But "XII Alfonso" is hard to categorize (eclectic maybe). This album is "under" expectations (although they were not high as far as I was concerned).

Repetitive and without passion: that's what we get here ("Knowledge I & II", "Memories" etc.). To name them all would be like naming each track of this work. IMHHO, very few fans form the symphonic genre could be coping with the music offered on this "Under" album.

Nothing worth more than two stars. As each of their previous albums actually.

This means that my perception for this (very long) CD is also the same: quite mixed actually. I have to say that it was quite a challenge to listen to these seventy-three minutes of music. There are very scarce passages of pure symphonic prog to discover in this album; but the band never showed too many so far to be honest (this is their fourth album). Some bucolic moments though are available ("Ce Que Disent Les Arbres").

The church oriented «Tout Change, Quoique Pierre» is also not very much of my liking. But to tell the truth, there are very few tracks that can blow me away ("Visite A Giverny" maybe). Most of this album leans on the symphonic jazz genre ("Au Pays De L'Hiver") but there again; "XII Alfonso" is familiar with this. A light touch of classical music is also noticeable ("Les Archipels Illusoires").

This type of music is obviously not for everyone. As I have said previously, their style is difficult to depict and this band is rather confidential.

Two stars for this second "Monet" work (just as the first one).