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PROGRESSION BY FAILURE

Symphonic Prog • France


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Progression by Failure biography
Progression by Failure, the one man band created by the multi instrumentalist Nicolas Piveteau was accepted by the Symphonic Team and added to our database the bio was gently provided by the Nicolas himself.

Iván Melgar Morey


Progression By Failure is a project by a young french compositor named Nicolas PIVETEAU. He was born in 1981 and starts to play keyboards at 10 years old. He also plays guitar and drums.

This project is a vision of the progressive music, a large panorama between power & emotions. The songs are made of beautiful melodies, power riffs & light atmospheres, without what the author considers cliches of standard progressive music.

Of course, Progression By Failure is influenced by modern Prog Rock, but also by metal & pop.

The songs are written as a tribute to Prog bands like Spock's Beard (Memories From The Future) & Transatlantic (Progression By Failure), and also to dark metal Prog like Opeth & Meshuggah (Desperate Anger) plus Symphonic Prog groups like Therion (Talion).

Nicolas Piveteau (Edited by P.A.)

Progression by Failure official website

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Sonic TravelogueSonic Travelogue
Musea Parallčle/Musea 2015
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Progression By FailureProgression By Failure
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Musea Parallele/Musea 2009
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3.71 | 26 ratings
Progression by Failure
2009
4.43 | 18 ratings
Sonic Travelogue
2015

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PROGRESSION BY FAILURE Reviews


Showing last 10 reviews only
 Sonic Travelogue by PROGRESSION BY FAILURE album cover Studio Album, 2015
4.43 | 18 ratings

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Sonic Travelogue
Progression by Failure Symphonic Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars Progression by Failure has graduated to the sophomore level, proving that the 2009 self-titled debut was no flash in the pan, and creating another magnificent opus that is as accomplished if not more so than its illustrious predecessor. Main man, composer and keyboardist Nicolas Piveteau has attempted crowd funding with minimal results, proving once again the frailties of the much vaunted social media marketing dictatorship, and nevertheless released this brilliant work that just screams out for more attention. There are some immediate upgrades from the first album, as Sonic Travelogue has 2 regular sidemen of very high quality and yet hitherto unknown to me : a bold and vibrant drummer in Mike Saccoman and an opulent guitarist by the name of Drayen Labie, both of whom add some serious dynamics to Piveteau's complex instrumental pieces, that encompass a wide spectrum from aggressive sympho prog to medieval baroque tendencies, constantly sailing towards uncharted territories that keep a tight focus on masterful melodies on each and every piece. Piveteau's keyboard work was already exemplary before but now, he really reaches new heights in creativity, tone and exploration, unafraid of infusing some modern electronic sounds as well as funky old school e-piano, a slew of special effects all drawn from his battery of synthesizers.

Slamming one against the wall from the onset is a cold move but what a wakeup call in 'The Pyramid & the Sphere'! Ka-boom, mon ami! Hefty guitars , dripping electro pearls, volcanic drum beats work together to introduce the sensational jazz piano section, smokey room in your mind, ladies in long dresses, gents in tuxedos, Armagnac and Champagne are both de rigueur and flowing seductively. The nasty metallic assault returns, even more drool pooling the chin, this time pointing towards a hard synth sound, drums firmly in tow, stretching towards dissonance and even RIO. Surprising this heavier sound, but I like it, as the now ultra-jazzy lounge big band synths emulate the brass section of some early morning musical breakfast, a glowing sunrise on the horizon. Whistling bird synths recall Jan Hammer or even Patrick Moraz, a bold undertaking that serves as letters of noblesse. Symphonic master stroke.

Align that opener with another 10 minute + epic in 'Sparkles' and you just already know this is going to be so much fun. This piece takes the thing to even loftier heights and serve as a highlight track of masterful proportions, a prototypical example of 2015 symphonic prog's elite capabilities. Pulsating, thrilling, stormy, electrifying and urban. Piveteau does an original take on keyboard wizardry, not just by varying his instruments but the tones and effects are scintillating. It doesn't really sound like anything in Progland, a heady mixture of all the explicit ingredients we have in our genre, but led obviously by urgent classical tendencies, as well as adorned by dazzling detail and concrete structure. The gentle exit is astoundingly effective and proof of genius at work/play.

'Once Upon a Time' is a prime example of the juxtaposition of medieval sounds and hard-edged guitar-fueled propulsion, a crisp rhythmic foundation at its prime, only to blossom into a gorgeous melody that hits all the heartstrings and oozes out all the repressed melancholia in a person's soul. This could easily have stretched itself out into a more extended piece but I guess the next one will fulfill that obligation.

Daring to venture into funkier climes, as on the Cajun-fueled 'A Day in the Swamp', replete with groovy guitar mannerisms that are closer to Steve Cropper, Larry Carlton and Lee Ritenour than anything else, while the jambalaya-like electric pianos, clavinets and organs do some furious fusion, the piece suddenly morphs into a French Celtic stomp, something Malicorne, Patrick Broguiere and such would dare contemplate. The idea was perhaps to remind us that most parts of America and Canada were first discovered by Frenchmen and not the Brits, who came only later. Eclectic stuff, I daresay!

Ignited by a pastoral acoustic guitar frill, 'Forest of Doubt' has a mind-numbing theme that I have a hard time shaking, a sweeping synthesizer loop scours the mellotron-doused ceiling and a sound I am quite weak-kneed about, almost like a mid-period Genesis outtake, with a 'Nights in White Satin' finale. I have no doubt that this is another key piece of this remarkably startling album, a sheer delight. The synth work alone is exemplary but when the drums roll on in (they really kick into a groove), the arrangement just skyrockets upwards in volatile splendor.

Back to some noisy stuff with 'Escaping the Ankou', a space rock blast if I ever heard one, complete with a spooooooky metallic synthesizer rave that is out of any sci-fi oldie you care to imagine. Cosmic debris flung at breakneck speed over the steaming organ makes this even more dramatic, weird bass keyboard oscillations and a sudden jazz lounge piano solo that will catch one wholly off guard, and a slew of careening oddball sounds, what a thrilling ride! The mood is visceral and exalting, the playing is otherworldly in technique and delivery.

'The Sidh's Gate' should almost be considered as a segue piece, a variation on the previous insanity, a more obscure mood pervades with dexterity. The synth here has a saxophone patched into its memory banks and the result is quite breathtaking. The second section is pure symphonic bliss with an orchestral grandeur. Another character track is the sublime 'Autumn Mood', a charming reverie on that spirited season when cooler climes inherit the sun and the wind, here expressed as a thrilling piano etude of the very highest pedigree, a Chopin-like moment in time and space. It becomes abundantly clear that Nicolas Piveteau is a superb technician, extolling both grace, fire and technique with equal doses of proficiency. The charming silence only enhances the glorious sentiments of autumn, when coolness finally challenges the sunny heat, a delicatessen equaling prime Rick Wakeman.

The recording ends with the majestic 'The End of Sonic Vibrations' and that is when the truly spectacular kicks in, a rare glimpse at a finale that encompasses all what was heard before as well as preparing the next step in Piveteau's modern prog career and craft. The main extract is a valiant confidence, a vision that has few clones, a mastery of atmosphere, technique, composition, inspiration and outright class. The exhilarating orgasm is led by a hallowed guitar, long and bluesy just like we like them, lush with sensual flush, erotic undertones perhaps but Labie's sexual guitar rant certainly qualifies being somewhat explosive. This rates highly as a cousin of tracks like IQ's 'Road to Bones' or PTree's 'Anesthesize', fine examples of epic, spectral and mesmerizing 21st century prog.

This is a ridiculously interesting album of supreme quality, sound, playing and material. Easy masterpiece, with all that sparkling piano as well as a real drummer and not some robotic pounder.

5 musical journals

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 Progression by Failure by PROGRESSION BY FAILURE album cover Studio Album, 2009
3.71 | 26 ratings

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Progression by Failure
Progression by Failure Symphonic Prog

Review by apps79
Special Collaborator Honorary Collaborator

3 stars Progression by Failure is a project started by a young French keyboardist named Nicolas Piveteau, who's influences range from 70's- and modern Prog Rock to Dark Metal.Born in 1981 and based in the city of Tours, Piveteau also plays guitars and drums and recorded his self-titled debut all by himself, a work released in 2009 on Musea Parallele.

Despite his young age, Piveteau was ready to meet the prog challenge with this release, not a single track is under 7 minutes and he even made an attempt to record a 20+ min. composition with the self-title piece.Young age and recording isolation has its good and bads though.Good thing is that Piveteau appears to be a trully gifted composer and performer, especially on keyboards and piano, which are the dominating instruments on the album.''Progression by Failure'' is loaded with synthesizers and comes as a really dense effort on dramatic, instrumental and modern Symphonic Rock, the easy comparison and influential guide would be E.L.P., but the music of Piveteau is often controlled by electronic snippets, while the the edgy and bombastic sound draws comparisons with acts like NEXUS or Japanese bands such as GERARD and ARS NOVA.Expect very few to zero Hammonds, Mellotrons or true Classical pinches in here though, the real treat is a full synthesizer sound, where pomposity and grandieur meet virtuosity.Piveteau's music is usually pounding and mascular, but there are often moments, when the gears are down and the material is more atmospheric than technical.Advantages can become disadvantages at the same time and the sharp synth-drenched stuff has resulted to a very digital sound, while the acoustics of the guitars, bass and drums are not fully convincing at the very end.There are rare melodies in here, but when present the material sounds excellent, very catharctic, ethereal and beautiful.Piano lines are also very nice and I would love to see Piveteau returning with a more melodious and keyboard-diverse sound in the future.

This is good to really nice modern Symphonic Rock with emphasis on keyboards, deep, almost cinematic atmospherics and technical accomplishment.Cool stuff for a one-man band effort, should be a great addition for all lovers of keyboard-based Symph Rock.Recommended.

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 Sonic Travelogue by PROGRESSION BY FAILURE album cover Studio Album, 2015
4.43 | 18 ratings

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Sonic Travelogue
Progression by Failure Symphonic Prog

Review by Lear'sFool

4 stars In part taking off of medieval songs and influences, "Sonic Travelogue" is somewhere between an epic, symphonic wonderment of a musical journey, and a simply good collection of eclectically influenced tracks. The reason for this disparity is that Progression By Failure's eclectic sensibilities take him away from his strong point, some truly beautiful and, yes, epic tracks rich in classical and medieval leanings, that as a whole album would be an instant masterpiece. Some wonderful work with strings, mellotron, and wailing guitar. But, alas, we leave for some lower points. The rating notes that he knows what he's doing and that as such this is all good music, but this does drag it down in the end - ever more because of the sheer disappointment of the loss. Enough weeping, though, as, again, this is still good material all around. This is never a dull or bad listen. I have warmed to his particular eclecticism. But I still miss what could have been... I will say a 4.5 that must be rounded down. Still recommended, and this probably will still be a masterpiece for some.

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 Progression by Failure by PROGRESSION BY FAILURE album cover Studio Album, 2009
3.71 | 26 ratings

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Progression by Failure
Progression by Failure Symphonic Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars A promising and intriguing effort by this French one-man band, at least for those with a granbd passion for music conveyed by various forms of tangents.

PBF is a one-man band, and as most others this does lead to some weaknesses. In this case the drums are rather horrible and the bass leaves quite a bit to be desired too. In other words: Those with a need for good instrumental performances throughout may not fancy this effort at all.

However, if synths, keyboards, piano and organ are instruments you find fascinating in themselves, and if you truly enjoy rich, well made symphonic textures with a great deal of variation in terms of dominating sounds, the number of layers utilized and logically evolving songs you're in luck as far as this production goes. In particular if you enjoy a piano motif running as a red thread throughout the composition - which is the fact for a number of these ventures.

There's nothing new or groundbreaking here though. It is a well made effort, where the strength of the compositions and the performance by various keys are the main assets, and with a pretty good production too. But as mentioned earlier: The drums and bass does not sound good, and if those are traits important to you you'll probably not find much to please you on this disc.

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 Progression by Failure by PROGRESSION BY FAILURE album cover Studio Album, 2009
3.71 | 26 ratings

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Progression by Failure
Progression by Failure Symphonic Prog

Review by Epignosis
Special Collaborator Eclectic Prog Team

2 stars Keyboard-playing is a wonderful skill because one can generate a multitude of sounds, and in that department, Nicolas Piveteau excels. While the man behind this album is unquestionably talented, the product has a few glaring flaws: First, the album lacks a unifying coherence, although to be fair, the artist himself has claimed these pieces were written as tributes to a variety of bands. Hence, while one piece may sound like what is commonly called "retro prog," another piece will be a stab at progressive metal. Second, as a relatively lengthy album of keyboard-dominated instrumentals, tonal variety is all but missing despite the compositional variety. I feel other instruments, most notably guitars, would have injected fresh life into these generally respectable arrangements. Finally and perhaps most unfortunately, it is the most protracted piece that is the weakest, and not just mildly so, but more on that later.

"Intro" No frills here- this passage does exactly what it says it will. It introduces the music of the album with a few thunders of percussion.

"Dialog with a Selfish" Grating, frantic noises explode into action. When they clear out, only a stark piano and sinister background noises remain, but soon a whining synthesizer lead joins in. It becomes dissonantly noisy, laden with electronic sounds.

"Memories from the Future" This piece has a peppy, cheerful beginning, relying heavily on organ and a bouncy bass. Abruptly, the music stops and a lone piano takes over, slowly hammering out heavy chords and gentle single notes, with a soulful synthesizer solo to follow. The organ solo is absolutely masterful, as it is a demonstration of virtuosity without cramping the rest of the music.

"The Solitude of a Winter" While I'm not fond of the sound of the piano (it sounds far too digital, almost cheap), the composition is a lovely, delicate one that in a way is blemished by rather dreary bass and drums. Midway through, the piece stops and begins the next section, which consists of two separate piano tracks and a layer of strings. Finally a synthesizer lead descends upon the music, but after what has come before, it seems rather lackluster. The lack of variety, both in sound and instrumentation, not mention the decidedly weak rhythm work, makes for a beautiful yet uninteresting piece, especially for its length.

"Desperate Anger" The track title is quite indicative of the sort of music one can expect to hear on this one. Gritty tones, even on the organ, crunch throughout; that, coupled with an overused bass drum, creates a pseudo-metal atmosphere. More spacious, piano-led music follows, with electronic sounds in the backdrop. The middle section is an especially busy one, as the heavier business resumes. The music of the final minutes casts a baleful mood due to dissonant counterpoint. Occasionally the timing seems off.

"Talion" This piece utilizes electronic tones, most notably what seems to be synthetic violins, cellos, and drums. It is good, but forgettable.

"Progression by Failure" Lonesome piano opens the vast title track. It soon settles into a steady and simple chord progression to lay the foundation for dual synthesizer lead. Whereas much of the previous music was varied in terms of arrangement, this lengthy piece has the artist finding a couple of strong themes, but wearing them out with repetition, only eventually moving onto the next section with a very weak transition or none at all. Largely it consists of several jam sessions strung together- multiple opportunities to shine as a lead musician with nothing else of interest, all book-ended by a pleasant but extremely tedious theme that gets recycled over and again.

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 Progression by Failure by PROGRESSION BY FAILURE album cover Studio Album, 2009
3.71 | 26 ratings

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Progression by Failure
Progression by Failure Symphonic Prog

Review by b_olariu
Prog Reviewer

3 stars Progression by failure is the project or better said the band of the young french musician Nicolas Piveteau. This is the first album selftitled from 2009. Hmm, I had quite hard times to listen to this album at once, belive, nothing is wrong here, but I don't find the originality of the music as anyone praising here. Ok, I'm agree with the rest that he is a very good keyboad player, but the rest of the instruments where he plays are almost boring. I forgott to say that he is the main man on entire album, he plays at everything that is heared here, is a thing that must be be congratuleted, but besides the keys who sound in places very intristing, the rest are almost mediocre. The sound of the drums I don't realy like, is almost for the begginers with not catchy moments, here and there he speeds and turns a little bit not to become boring, same paterns on all the album. I want to be more diverse in manner of composing. All album is instrumental, so another thinng for him to express very easy annd with lots of keyboard driving moments. The music is ok, I mean, he realy shines on some pieces , but only on key passages, like the title track, nearly 23 min of great journy through his symphonic ventures. Influences are from Jean Michel Jarre in places, very electronic sometimes like on Dialog With A Selfish, a mediocre piece to my ears full of unintristing keyboards arrangements, some more rougher moments interlude with some parts a la ELP on other pieces, ok but the diversity of the music lacking here as almost every piece. As previous reviewer Menswear said very good I was expecting some guitars, at least here and there to make the atmosphere more grandious, more fluid in arrangements, is not the case this instruments doesn't feature here at all. So as a whole I find it a good album, with memorable songs, decent arrangements, but I don't realy find the masterpiece that other reviewers find here, belive me, not even I'm listning to the album hundred times. I know better albums from this field, some of them miles away then this Progression by failure, but in the end this Nicolas Piveteau know to handle the keys in such way to make a pleasent album, because the rest of the instruments are simply made and in places almost mediocre. 3 stars is the best I can give, good album but nothing realy special.

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 Progression by Failure by PROGRESSION BY FAILURE album cover Studio Album, 2009
3.71 | 26 ratings

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Progression by Failure
Progression by Failure Symphonic Prog

Review by Menswear
Prog Reviewer

3 stars Hand made with pride.

More and more solo projects are given birth these days, and many has a high level of quality; I'm thinking Willowglass and now Progression by Failure.

Some songs are kinda skinny, or maybe I'm not familiar with the style; many proggers are referring to Jarre and Oldfield, big names indeed! I was expecting maybe something thicker in textures, maybe some guitars. The drums are of course done very simply, and frankly it bugs me a bit.

But I'm saying:'Come on man, give a guy a chance. He's all alone. He excels in piano and keyboards, he cannot be everywhere!' And it's true: songs like Solitude of Winter are really painting the nostalgia of being lonely in the cold winter, thanks to a very nice melody.

Overall, the job of doing everything alone is giving me heartburns just thinking about it. So kudos to Progression by Failure for a decent job with catchy melodies and great keyboard.

Merci ā toi Nicolas, tu as relevé un défi difficile avec brio. Continue ton super travail, on anticipe ton prochain disque!

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 Progression by Failure by PROGRESSION BY FAILURE album cover Studio Album, 2009
3.71 | 26 ratings

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Progression by Failure
Progression by Failure Symphonic Prog

Review by Anteater

5 stars How can one man produce something this damn good? I mean sure, both Anthony Phillips and Willowglass are brilliantly fine examples of what only one or two people can do together in a symphonic prog. context when some great themes are established....but Nicolas Piveteau's "Progression By Failure" is a step beyond anything I've heard from a solo project in this genre before, and much to my surprise it's got a spark that only comes around once every blue moon.

Perhaps what makes this stand out the most here is the often meandering, but very memorable and well performed synth-work. Although there are occasional fireworks within the playing, Mr. Piveteau understands quite well that its ultimately far better to emphasize motifs and intricacies rather than the technical explosions so atypical of neo-prog and prog. metal, and his restraint gives this debut work a lot more emotional and enjoyable leverage than it would have otherwise.

Highlights are numerous; the 22 minute finale title track is full of particularly sharp interplay, 'Memories of the Future' has some deliciously arranged dynamics, and 'Talion (my favorite piece here)' is chock-full of an old school classicism that I find quite very endearing. Furthemore, the production values are warm and fleshed out in such a way that your mind is drawn out unconciously with the proceedings.

So take heed folks; this instrumental escapade debut is the underdog gem-album of 2009, and without a doubt the best thing to come out this year in the prog. scene next to Maudlin of the well's 'Part the Second' and Lobster Newberg's "Actress".

Don't tarry; get this now!!!!

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 Progression by Failure by PROGRESSION BY FAILURE album cover Studio Album, 2009
3.71 | 26 ratings

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Progression by Failure
Progression by Failure Symphonic Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars "I was drawn to this CD when I read Ivan Melgarīs glowing review and, after repeated listenings, I can say he is right on the mark!" wrote colleague Tarcisio Moura when etching his review into the PA monument. Well, I can only concur wholeheartedly! Thank you Ivan, you introduced us to a phenomenal debut album that has been causing a series of tremors in my recent prog landscape and perhaps even the winner of the best 2009 release. Yes, kids, this is a shocker that encompasses all the traditions of past glories while infusing ultra-modern textures and vibrant atmospheres.

After a brief electronic swoop that stamps this as vintage 2009, "The Dialog with a Selfish" embarks on a thunderous all-instrumental journey that has one man band leader Nicolas Piveteau unleashing his phenomenal talent on a battery of keyboards, laying down the directional bass and the escorting drums. The synthesizers in particular can be both texturally cubic like Richard Barbieri or supremely soloist like Tomas Bodin or Par Lindh, for example. Nicolas' piano playing is of note as well, very elegant and refined in a neo-classical sense when needed. A tremendous entrance to say the least! "Memories from the Future" has a fanfare mellotron embrace that will knock your socks off, the slippery synth rolling atop the fluffy choir clouds and that ultra cool piano that alters the mood on contact. The romping bass swings delightfully while the organ shows pure bliss, in fact Piveteau reminds me a lot of Olov Andersson of Grandstand fame (a great Swedish band), tons of keys and no sight of guitar anywhere.

The spectacular beauty of "The Solitude of Winter" has all the class of past glories, a drop dead gorgeous melody hammered out on piano that would make Wakeman, Fritz or van der Linden blush with envy. It's something one could listen to forever, romantic, ponderous, melancholic, poignant and heartfelt. The trumpet synth solo only increases the sheer magnificence, you have to hear this only once to fall hopeless entranced. After such a lovely escapade, Piveteau returns with a gloomier epic, "Desperate Anger" a dozen minutes of controlled fury with its insistent theme, jack-booted by a resilient bass and some savvy electronic orchestrations, almost like a soundtrack to some zesty sci-fi action flick. The tone gets even heavy and sweaty with brutal machine shop synths steamrolling mercilessly, a stellar slab of gleaming high-tech prog, twirling, careening, slashing and crashing with evocative splendor. Often for me in describing my fave genre, prog is a audio version of cinema where the listener can create its own virtual dreams and this fact is perfectly ensconced here as a mindscape of infinite freedom. Music should be inspiring and this stuff is.

"Talion" is a revisit of more grandiose themes, a more organic and vibrant JM Jarre/Vangelis/ TDream with tons of mellotron, a divine and urgent synth bass and some memorable impressionist flavors. Again we have the perfect balance between modern and classical, between electronic and symphonic, always with that "je ne sais quoi" edge. Not many musicians have the balls to finish of their labour of love with a 22 minute finale, but since 44 minutes have gone by faultlessly, why not go for the jugular! The title cut contains 22 minutes and 44 seconds of sheer genius that ultimately confirms this as a 2009 masterpiece, a wondrously intense piano waltzes sensuously into the audio brain, a timeless synthesizer and a steady pulse slowly weave their charm and hypnotize, medicate and heal the wounds of daily life. I did not expect such a brilliant piece of plastic and I am blown away as I rarely need only one run through to go gaga because contrary to popular opinion, I consider myself quite demanding in terms of prog.

There are structural similarities with Anthony Phillips' genial "Slowdance" and some Oldfield hints (Yes, Ivan, Tubular Bells is right) but this remains beautiful music, sensuous and sultry, evocative and reflective. The ability to foxily decorate with some colossal choir mellotron patches only increases the feverish adulation. Exactly half way through, there is a bass and drum excursion that while simplistic, still conjures deep new avenues for Piveteau's to flex his creative muscles. A magnificent ride is in the offing. I don't care if it's a debut disc (in my opinion, within recent progressive music, they are often the best anyway), it does not deserve to be intellectually belittled by its nativity and fully meriting a top score. If Nicolas has more to offer next time, heaven help us! Thank you Ivan

5 prog pacifiers

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 Progression by Failure by PROGRESSION BY FAILURE album cover Studio Album, 2009
3.71 | 26 ratings

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Progression by Failure
Progression by Failure Symphonic Prog

Review by Tarcisio Moura
Prog Reviewer

5 stars Stunning debut CD of this one man band that reveals the genious of french multi instrumentalist and songwriter Nicolas Piveteau. I was drawn to this CD when I read Ivan Nelgarīs glowing review and, after repeated listenings, I can say he is right on the mark! This is a fantastic work that blends very different styles and genres to produce a music that is, at the same time, original and accessible. What a rare chemistry!

The CD is a totally instrumental affair and is basicly just keyboards and drums but you wonīt miss any other instruments on this very well balanced album. It is clear that classical music is the main influence, but there are lots of other sutff in the mix: avant guard, jazz, King Crimson, Erik Satie, prog rock, even thrash metal bits can be traced on some drums patterns and riffs. Some moments are almost chaotic but never to the point of losing its melody line (hence its link with some of KCīs best moments). Some parts are pure lyrical and very, very poignant (The Solitude Of A Winter is a good exemple), some are complex (like the opener Dialog With A Selfish), some are heavy,some are light. In common they have the fact that they are all great!

For a first album this is really a superb work, with a top notch production, fine mix, tasteful arrangements and mature compositions. Itīs almost 70 minutes long and yet I think it is too short. I just canīt get enough of this. Itīs very elaborate, complex, beautiful symphonic prog music at its best. I was a bit tempeted to give it 4 stars, since you always expect the following works to be better, but there is no way to deny that this is truly a masterpiece of progressive rock. 5 stars. Highly recommended!

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Thanks to ivan_melgar_m for the artist addition.

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