HUIS

Huis are back with their fourth album, following on from 2019's 'Abandoned'. Sylvain Descôteaux (vocals, keyboards), Michel St-Père (guitars), and Michel Joncas (bass, Taurus bass pedals) have been there for all the releases, while keyboard player Johnny Maz joined for the last one, but long-time drummer William Régnier has now departed, and he has been replaced by Martin Plante. Huis are one of the most consistent progressive rock bands around, and I have really enjoyed all their albums to date and this one is no different in that respect. They may have only released four albums in just over a decade, but that is not too shabby in the current environment, especially since Michel is highly time poor, given he runs the label and is involved in multiple other bands including the mighty Mystery.

Huis have a way of combining melodies, arrangements and vocals so that everything is a highlight, all at the same time. The punch of bass pedals combined with real bass can be quite reminiscent of Genesis, and there is liquid fluidity to their playing. Somehow, they manage to combine melodic rock, AOR and Progressive Rock in a manner which almost defies categorisation. On PA they have been claimed by the Neo team, but I am sure that is more due to the Mystery connection, as in many ways this is full on Crossover, both the defined sub-genre and also in its approach. There is an almost pop element to the approach but brought to us through the eyes of prog musicians, so we get plenty of harmonies, lifting vocals and dramatic underscoring by guitar, bass and drums while the keyboards can be soft and gentle or bombastic and driving, whatever the needs are at the time.

It is a very easy album to get inside, easy to listen to but never easy listening and the result is a prog album which genuinely makes me smile when I am playing it. I am not being asked to concentrate to make sense of what the musicians are demanding of me, but instead I am being encouraged to take this on face value and just revel in the joy of great music which at times really rocks. This is a fun album, reminding us that progressive music is to be enjoyed and not endured. Yet another great release from Huis.

"Chaos" and here we go for a unique prog metal; neither too redundant, nor too flirting with neo groups; a voice apart, a guitar solo that smells of MYSTERY but more nervous, a piece that would send you back to the ARENA side; listen to it to get your idea, I remain silent there. "Paralyzed" latent piano intro to keep the progressive link; metronomic synth, a few touches of Floydian guitar with the most beautiful effect to rock; it starts with melodic bluesy prog metal, the stuff that doesn't make waves; hold on a moment TOTO, another JOURNEY, KANSAS, STYX; the piano outro and languorous voice to end in peace. "Westminster Bridge" continues with the lavish atmosphere, heavy riff, old hard rock from the 70s, a zest of AOR and the neo heavy soft air, predominant part of FM keyboards. A progressive conglomerate with already a very beautiful aerial solo from Michel. "Requiem for the Last One" and the symphonic orchestral intro, more than 2 minutes, keyboards in front; a title that gives pride of place to the instrumental prog metal variation. This piece flirting with the 10-minute mark sends on varied prog territories, on the border of prog metal; more recent, more dynamic, worked.

"Crossroads" solemn, majestic intro, grandiloquent piano, it rocks; the giant ballad swells and unfolds a crescendo. This monolithic piece easily passes with a prog metal sound that looks at metal with the synthetic finale boosted with amphetamines. "The Miracle" begins with a goldsmith piano, delicate with an acoustic guitar, the rest is a ballad typed FOREIGNER with this cottony sound of the 80s; simple, effective. "Burning and Drowning" hop a note from Marianne FAITHFULL yes Lucy's ballad; perfect start to go, mix between voice and keyboards, sharp rhythmic bass; the sound increases, the riff heavy, a solo suddenly goes on a melodic prog metal refrain. This group has found its style, its own sound; the warm voice anesthetizes the few restraints that one could find. "Failing" choirs, latency, instruments in progressive order, here we go; the fleshy, charming, opulent keyboards; the guitar as a bonus in the US prog metal register, the one that goes from the ballad to the nervous riffs. A guitar solo from ARENA cuts through the air, Michel showing the extent of his talent. A whirling and languorous organ solo from the old days when one could laugh at the mastery of the musicians; pleasant crystalline yessian break highlighting Sylvain helped by a Gabrielesque flute, simple and superb.

HUIS offers a new register with nervous titles accompanying the melodic ones that were their signature before; powerful AOR, boosted ballads, melodic and punchy pieces favor a potential regression for many nostalgic progueux. Originally on Profilprog.

Canadian band Huis (Dutch for 'house') was founded in 2009 by bassist Michel Joncas and then keyboardist Pascal la Pierre. Eventually guitarist Michel St-Père, singer Sylvain Descoteaux and drummer William Regnier join the band to record debut CD "Despite Guardian Angels" in 2014. Then la Pierre leaves the band and a new keyboard player named Johnny Maz joins the ranks. In 2016 "Neither In Heaven", the band's second album, will be released. It is obvious that these musicians are enjoying themselves playing in the vein of Knight Area/Mystery.

I feel very much at home with the music of the band. Their third album "Abandoned", reviewed here, has, if you consider this to be a home, the right architecture and furnishing in my opinion. The architectural style is unmistakably neo-progressive, nothing more and nothing less. The aforementioned workpieces of the band are built on exactly the same pillars. Comfort radiates fromit.

When you enter the house, you are immediately confronted with the comprehensive bass playing of Joncas and not much later with the excellent vocals of Descoteaux. The clear tones of Joncas and the heated voice of Descoteaux carry you effortlessly through the long corridor and both gentlemen are happy to show you all the rooms within the building. A great synth solo sounds in the reception room and in the meantime you realize that this music is cast in stone.

The catchy AOR song The Giant Awakens sounds in the kitchen, whereas multiple harmony vocals beautifully frame the almost-hard rock sounds. It's heading towards Styx and even Deep Purple. What follows are two epic tracks that both clock in at double digits. Here we can hear Huis at its best. Images of a nice, cozy but above all spacious living room appear. Caducée starts off very melodious as if it were one of Mystery's songs, which makes sense since guitarist St-Père plays in both bands. His playing is always the icing on the cake throughout the entire album. As for the atmosphere of Caducée, the lion's share of the song has a relaxed mid-tempo groove with Descoteaux's voice very reminiscent of Phil Griffiths (Poor Genetic Material). Descoteaux also has that Damian Wilson-like quality in the more intense moments on the album.

We can get out of our comfy chair to stir up the fireplace. The first couple of minutes of Stolen are quite loud. The song then takes a quiet turn with, among other things, the flute of Jean Pageau's (Mystery). What follows is a piece with sustained piano playing.

And so it goes on and on throughout the album. Without putting themselves in danger they present two instrumentals, Solitude and the smooth Haunting Days that are certainly reminiscent of their compatriots Saga. The intermediate Chasing Morning Glory is a varied song that somehow has a sixties ring about it. We Are Not Alone is a beautiful ballad complete with dreamy flute, a track with bedroom allure. At the end of the corridor, the doors open to Oude Kerk III (Old Church), the sequel to the first two parts of "Despite Guardian Angels". In this third part Huis comes with a sound in the vein of the old IQ.

"Abandoned" is a great house to stay in and Michel Joncas and associates are excellent hosts. Listening to all their albums makes me think back to my childhood when I drew many a map of an imaginary house. Actually, the Canadian band does exactly the same with their fantasy.

Originally posted on www.progenrock.com

Canadian band Huis are back with their third album, and have resolved their issues with not having a keyboard player by bringing on board Johnny Maz who had guested on a number on 'Neither In Heaven'. The rest of the line-up is the same as it has been all three albums, namely Sylvain Descôteaux (vocals, keyboards, piano, vocal arrangements), Michel St-Père (guitar, keyboards, mixing), Michel Joncas (bass, bass pedals, keyboards, backing vocals) and William Régnier (drums, percussion, keyboards and acoustic guitar). This is a direct continuation from the last album in many ways, taking the styles from that one and showing just how much control they have within the genre. Lush and comforting, they provide cut through with string guitars, great bass and powerful drums.

A couple of guests have also been used to good effect, and the additional piano and female vocals on "We Are Not Alone" make a huge difference. Sylvain has a wonderfully melodic and emotional vocal style reminiscent of John Wetton combined with Steve Hogarth, and the music combines with it to tell a story which is always entrancing and exciting. The band operates on many levels, so while it can be gentle and relaxing in the rhythm section and keyboards, Michel can be really rocking out, or he could pull himself right into the background so he can barely be heard. It is one of those albums when it easy to let the music wash over the listener like a crashing breaker, but one which is warm and inviting as opposed to crushing and chilling. Follow any particular musician and you will be surprised at just how much work is being undertaken, and the variety of styles on offer. However, this is an album where each musician really knows their part and locks in with the others to provide music which is always interesting, always accessible, and just a damn fine listen.

This is the third album from Huis, and yet again they have produced something which is enjoyable from the very first note to the very last.

'Neither In Heaven' was the second album from Canadian band Huis, following on from 2014's 'Despite Guardian Angels'. That was released as quintet, but in the intervening time keyboard player Pascal Lapierre departed, so for this album the guys brought in four different keyboard players to help out. The rest of the line-up is the same, namely Sylvain Descôteaux (vocals, keyboards, piano, vocal arrangements), Michel St-Père (guitar, keyboards, mixing), Michel Joncas (bass, bass pedals, keyboards, backing vocals) and William Régnier (drums, percussion, keyboards and acoustic guitar). I really enjoyed the debut album, but this album unfortunately arrived for review while I was stuck in the bowels of compiling my books, so was relegated to the "will review later" pile. That pile is still way too big, but the arrival of a new album in 2019 provided the requisite kick I needed, so finally I am writing about it some three years after I first got it. Boy have I been missing out.

I have long been a fan of Michel's guitar playing, first coming across Mystery more than 20 years ago, and following their career with interest ever since. Here he does allow himself to riff when the time is right, but never to the detriment to the music, and it is the combination of lush and sumptuous arrangements and wonderful melodies that makes this a very special album indeed. Symphonic neo prog with real balls and no wimping out, but generally carried along on a wave of held-down keyboard chords, some real in your face bass (with some wonderful diverse techniques, I could listen to a track of just isolated Michel Joncas for hours), string drums, real guitars and then at the forefront of this we have the wonderful vocals of Sylvain.

This is prog as a comfort blanket, cuddly and warming, keeping the listener safe from the rest of the world. But just when there is the faint possibility of it turning into something twee with too much sugar then Michel just opens up again to remind us that whatever style of music they are playing, at heart they are a rock band. Just listen to the instrumental "Insane" to get an idea of what I mean, only 5 ½ minutes long it is a fine example of control, passion, restraint and bombast, and then they follow it up with the far more delicate "Even Angels Sometimes Fall" which allows Sylvain to show us just what he can do, yet also contains some simply superb drum fills. There are times when I am reminded of mid-Seventies Genesis, particularly with the keyboards, and the result is a very special album indeed which is well worth investigating.

"Huis" is a Neo-prog band formed in 2009 in Quebec, Canada created by Pascal LaPierre on keyboards and Michel Joncas on bass. The band has released 3 full studio albums since 2014, including the album "Abandoned" which was released in May of 2019. The current line up consists of Sylvain Descoteaux on vocals and keyboards; Michel St-Pere on guitars; Michel Joncas on bass; William Regnier on drums and percussion; and Johnny Maz on keyboards. Jean Pageau also appears throughout the album as a guest on flute. The album deals with loss, abandonment and sorrow.

The album begins with the 8+ minute title track "Abandoned". It opens the album with a lush and textured sound with vocals beginning early with thoughtful lyrics. The vocals are supported by soft keys and guitar. At 3 minutes, there is an increase in the intensity and the track gathers power in the next verses. The overall sound, music and vocals, are quite appealing At 6 minutes, there is a move to complex drumming and some nice soloing from the synths. "The Giant Awakens" is introduced by acapella vocals after which a more upbeat track begins. The vocal on the verses is not quite as appealing as the previous track, but the short harmonized chorus that started the track repeats throughout. When the song slows a bit as it goes on, vocal delivery improves. The faster tempo returns and you get an organ and guitar solo.

"Caducee" (around 13 minutes) starts with a soft piano intro and then the entire band comes in playing the same theme, and then they introduce another theme which develops over several minutes before mellower vocals come in. There is a slight tinge of jazz fusion in the softer parts which trade places with the slightly more intense main instrumental theme. Some nice guitar work comes in later with a mid-tempo guitar solo. The last several minutes, the song becomes more ballad like with the vocals backed by a piano-led background. "Stolen" follows with another long track at 12 minutes. A march style rhythm is established with pensive guitars and a pulsing low synth. Sudden intensity comes out when the full band starts up with a progressive section led by the synth. Vocals come in after a few minutes. The sound is definitely much more progressive on this track. After a guitar and synth solo, things slow down to a pensive style with the flute playing while a new vocal melody starts. This beautiful section goes on for several minutes and develops quite nicely. A mid tempo section with piano and synth pushes things forward also allowing for some short solos that get filled with piano in between each solo. It ends with vocals and flute in an atmospheric ending.

"Solitude" follows with a shorter 3 minute instrumental track which is led by a slow guitar solo backed by synth layers and percussive effects that gains in emotional value as it continues. "Chasing Morning Glory" goes back to a longer form. Starting soft, it pushes for intensity, but calms again before a moderately slow rhythm starts with pensive vocals. Later, processed vocals against a simple keyboard backing soften things even more. After a guitar solo, keys push for a faster tempo, and processed vocal layers give the track some depth. Later, the slower tempo returns and the vocal melody becomes more emotionally charged. It wraps up the last few minutes in a driving moderate tempo pushed by guitar riffs and an atmospheric guitar solo and a final vocal section. "Haunting Days" begins somewhat heavier with guitar and synth/keyboard riffs playing in progressive, start/stop patterns before settling into a nice driving heaviness. All of the instruments get to have their say in this dynamic instrumental.

"We Are Not Alone" starts with a piano/flute led ballad style and vocals start early on. The 2nd verse brings in the rhythm section. After this verse, the guitar builds intensity with a solo. Later, as things mellow out again, soft guitar and flute bring in the last verse. This track does follow a more standard song pattern, but the melody is quite lovely and so are the themes, and it builds for a powerful guitar solo at the end. "Oude Kerk III" is the last track on the album running for about 9 minutes. The atmospheric intro builds tension using pulsing synth and wordless choral vocals, and then suddenly the band kicks in with a tense guitar riff with a non-standard meter. The feel of the track is much darker than previous tracks, even when the vocals start. The melody goes back to a more progressive feel. Things alternate from major to minor keys as the track lightens up just to grow dark again.

This album as plenty of great moments that far outweigh the weaker moments, in fact, it is strong enough that the weaker moments might not even be noticeable. There is plenty of progressiveness on the album, and even the more standard sections do not abase themselves to standard rock completely. The sound is definitely Neo-prog, yet it is also mostly accessible throughout, and it's appeal will be very apparent pretty much from the first listening. There is a good amount of depth to the sound and the tracks are quite well developed. It's a great album and I think most progressive fans will love it. There is also plenty of time for some emotional and great soloing among the keys and guitars. Great effort! 4 stars.

Huis is a band project assembled by Michel St. Pere, the man behind the heavy neo-prog band Mystery, and "Neither in Heaven" is the band's second album. As with Mystery, Huis on this album follow the course of a heavy prog band with lots of synthesizer solos and abundant use of a heavy guitar sound. Similarities between Huis and Mystery might be easy to come by, and I wondered why St. Pere would want to run two bands of similar style at the same time. However, I haven't heard the latest Mystery album so I can't say if that band has changed at all.

There are several points worthy of mention regarding this album. First, I have to mention singer Sylvain Descoteaux who also handles piano and keyboards, one of four members in the band to have his hands on the keys! Sylvain can sing with a voice that agilely slides up to higher registers for Gillan-like howls and screams as in "Synesthesia" and "The Man on the Hill" but delivers melody and more soothing notes when required. You might soon clue into his French- Canadian accent, though this only adds charm to the vocals in my opinion.

Although many songs feature a heavier guitar with riffs that rival Arena, the album includes plenty of lighter passages either nestled within songs like "Synesthesia" or making up the bulk of the song in "Memories". I especially enjoy some of the piano with the final piano instrumental concluding the album being a favourite. "The Red Gypsy" begins with some lovely acoustic guitar and "Entering the Gallery" is a tease with a light and beautiful piano introduction that soon gives way to the heavier side of Huis. Three instrumental tracks "Neither in Heaven", "Insane" and "I Held" give the band opportunity to show off their instrumental skills free of the burden of lyrics.

This is an album written and performed by seasoned musicians, and I often find myself marveling at the perfection that has gone into the creation and recording of the songs. Still, depending on my mood, I may also feel the denser atmosphere of the heavier parts is not the best way to present the music of the album or that the same audio density is detracting from the lighter, prettier music. In general though, It's difficult to find fault with this album and at times during the day, the music may begin playing freely in my head. Worthy of four stars for certain.

Huis - this canadian/dutch neo/symphonic prog band is present with a second offer Neither in heaven, issued at canadian label Digital unicorn in april 2016. Well, what we have here is a good towards great neo prog album with hints of symphonic prog all done in a beautiful and elegant manner. I was hooked from first listen, at same level with previous album and in places even better, and aswell little more edgy in parts, but with all that the guitar parts are excellent overall. Very nice and elegant duels between musicians, I think the forte track is Synesthesia - this is impressive, really tight musicianship, excellent ideas, every musician involved here is sure what is doing and done very well in the end - the guitar parts from the end of the tune are marvelous, remind me here and there with another canadian neo band Red Sand or with norwegians The Windmill, very well performed passages, no wonder that Michel St-Père is a teacher on guitar. and worth 5 stars alone this track. Also two instrumental pieces grace the release, Insane and I held. Insane featuring keybordist Gerben Klazinga from dutch neo prog band Knight Area, very nice tune. I also find the bass little in front then previous album, but is a good thing, everything is done with taste and in elegant manner. As I said the music overall is well crafted , with lots of keyboards and guitars aswell maybe in some parts they remind me of Mystery because of St-Pere guitar touch but with hints of aformentioned bands above. Anyway strong compostions under neo/symphonic prog flavour. The art work and overall package is great to, digipak format. So, from me 4 stars, definatly one of the better albums of this year. I like this band and for sure I will check their next releases.

Heavy Neo Prog from a group of French Canadian prog veterans. Great sound engineering of wonderful Neo Prog soundscapes. A lot of ballad-like formats but, otherwise, nothing new here.

1. Neither In Heaven (2:40) 2. "Synesthesia" (13:09) nice climax/final two minutes. (21/25)

3. "Insane" (5:47) a hard-rocking instrumental that shows off a lot of the individual band members' skills but offers nothing really new or exciting. (7.25/10)

4. "Even Angels Sometimes Fall" (5:28) pretty with an AMBROSIA ballad feel to it. (8.75/10)

5. "Entering The Gallery" (3:41) bombastic opening before things calm down for Sylvain's vocal. Supported by piano and Michel St.-Père (MYSTERY)'s very bluesy-slide guitar. (7.75/10) Bleeds directly into:

6. "The Man On The Hill" (7:44) heavy, angular melodic and chord progressions set up a quiet section in which Sylvain Dexcôteaux sings in a power metal voice like he's in a 1980s metal band. Even the ensuing instrumental support is so 1980s metal (reminding me most of Hagar-era VAN HALEN)! (12/15)

7. "The Red Gypsy" (6:25) intro of Spanish guitar supported by synth washes is joined by piano and vocal before the end of the first minute. Full band joins in around 1:20, giving it a kind of mysterious pop feel (think The Eagles). Then synth and guitars lead in a gear shift into more classic 1980s hairband rock territory (Van Halen et al.). (7.75/10)

8. "Memories" (8:43) very touching first 2:20. Once fullness of music is engaged the band successfully maintains the feeling and emotional spectrum of the opening. Absolutely perfect use of Mellotron in the choruses. Masterful electric guitar soloing in the seventh minute (should we expect less?) (18/20) 9. I Held (3:35)

10. "Nor On Earth" (11:41) sounds like a good STEVEN WILSON/PORCUPINE TREE song ("Dark Matter"). Really! Very nice composition with perfect sound engineering. A little too derivative, though. And then there is the weird ending and spacious gap before two minute piano outro. (18/20)

Total time 68:53

B-/3.5 stars; an album worth checking out for yourselves.

After a promising debut, the band is back with his second album. There is no less than four keyboards musicians and that should give you a idea to what to expect in the overall sound of the music. The presence of the keyboards with some nice melody lines is what we have after the intro song. The melody is building slowly with multi-part vocals. The tempo get faster with the guitar of Michel St-Père of Mystery matching the keyboards at the end. In the song "Insane", the bass has the opportunity to shine with a keyboard solo. "The Man on the Hill" is heavy and sound like a copy of Arena style, the sound of the vocals are very close to Paul Manzini. The guitar is very busy here. In "Memories", the melody is carried by the keyboards again that are shining before a David Gilmour's guitar passage at the end. The album end with another take on the Arena's epic type of song that starts like a ballad but continue with some big symphonic parts. Those who enjoy the Neo Prog bands with a heavy edge and lot of progressive stuff will have to check this one out. The album sounds heavier than the first one and the production is clear which makes this more enjoyable to listen. Only the strait forward song "Red Gypsy" doesn't have the same quality of the rest of the album,