GRANDVAL

Grandval are back with their third album, with Henri Vaugrand (lead & backing vocals, bass, acoustic & electric guitars, EBow, programming, sampling) keeping it very similar to last time in that Olivier Bonneau (keyboards, bass pedals, electric guitars, backing vocals) is still a member, and they have again brought in Jean-Baptiste Itier (drums) and Jean Pierre Louveton (acoustic & electric guitars, backing vocals), both of course from Nemo, plus the addition of a further guest in Élodie Saugues (backing vocals). Again we have a relaxed album, which is often based around a melodic bassline and layered keyboards. The guitars are mostly there to provide nuances and inflections, and Floyd are yet again an obvious influence. As with the last album, the presence of Itier is huge, providing a real cut through both with drums and cymbals that one just does not get with programmed percussion. This clarity prevents the sound from being too cloying, although I must admit I would have enjoyed hearing JPL opening up more, but this is not a Nemo album, but Grandval.

Although this is still a crossover prog release there are some very solid neo influences as well, particularly in the keyboards which often have a quite dated Eighties sound and approach. "Heinrich (Un monde bien étrange)" is the longest track at nearly ten minutes, and there are some strong instrumental passages in here, including one where the keyboards and guitars lock together well. The album tends to be pleasant as opposed to essential, and while I enjoyed it while it was playing there is not much here to entice me back to play it again, as it often drifts by as opposed to throwing in hooks.

This is the third in what Henri sees as a trilogy of elements, and there were attempts to form a full band to play concerts prior to this recording, which was prevented by Covid, so it is quite possible the next release will see a change in direction, but we will wait and see.

GRANDVAL is the project of Henri VAUGRAND bassist from the age of 14 assisted by Olivier BONNEAU. In 2016, he released his 1st album on a strong frame à la ANGE, MONA LISA and the eternal PINK FLOYD; he offers here his 3rd album bringing French rock-pop atmospheres; indie, crossover, French poetic folk music; a sound alternating musical adventure like his region of origin with volcanic eruptions; melodic rock where slightly melancholy instrumental parts intertwine with targeted lyrics. Album fortified by the backbone of guitars and drums of members of NEMO.

"Ferimur" on a padded interlude start, soft sound on a MANSET tune, catchy melody followed by "Les jours innocents" on a text about... the innocence of adolescence, repetitive drums in the back, vague genre pouring out on a pebble beach; the old school French break with synth and guitar solo associated with a prog pop rock. "It's Still Snowing" with a catchy pop tune, a story about the loneliness of encroaching old age; a bit of THE CURE on the dark wave melody level; intimate a cappella break, sound on ANGE before and enjoyable solo at the end spleen. "Heinrich (A Strange World)" for the great angelic track, always very calm, soft, relaxing, maybe too much; bass break à la SQUIRE, acoustic reverberation, keyboard worthy of the 70's to dive back into this prolific period, JPL's touch a little on the nursery rhymes of GENESIS, title used in fact before coming back up for a redundant and frenzied vocal finale.

"Maples and oaks" on a pop tune that was on the radio in the 80s, very padded I will not say more; monolithic title, intervention of an interesting spleen guitar; it starts with an obvious vintage prog rock declination where the bass is there; jazzy break at this time with a keyboard of the same obedience allowing to move away from the original sound; final on a tune reminding me of the great very melodic ALAN PARSONS. "Aqua et igni" a committed text on migrants and other exiles, when Ukraine is invaded, it causes even more; well, let's stay with the criticism and don't evaporate. A chorus on two voices then it starts again with the contribution of the dark synth which adds to the musical distress. Jovial rhythmic synth break giving a little hope, the best moment of the album in my opinion, the vibrating guitar here. "Endgame" to an even slower, monolithic tempo, to give more room to vocals; melodic classic prog retro rock fortunately interspersed with a thunderous break where the energy squirts; the finale features Henri with an interesting progressive progression followed by a reverberating spleen guitar, a bit on THE GATHERING yes!, Jean-Baptiste's drums also adding; quick ending?. It's over, it's over!

GRANDVAL ends their trilogy with this 'eau | fire' bathed in certified regressive atmospheres, all tinkered with imaginative energetic breaks. The melodies follow one another offering a proven melancholic sound flirting with pop, new wave with the contribution of the hinge of the old NEMO for a sound from before; music to listen to by the fireside while waiting for night to set in. A singular album which can therefore shock given the current context and avoid having a pleasant rest with these committed texts, an album which raises questions. A 3 since some don't understand the ranking!

Grandval is is a French project, led by Henri Vaugraund who started as a bass player at the age of 14. His first album was released in 2016 entitled A Ciel Ouvert, as a one-man-band and multi-instrumentalist (vocals, bass, acoustic - and electric guitars, keyboards and choir). This music spanning a time of 20 years of making music. Now he has decided to polish his demos for a CD release. Originally the songs were sung in English, but Henri thought that the French language was more appropriate to suit his music. In 2020 Grandval produced a second album entitled Descendu Sur Terre, the second part of a trilogy about the elements. This new release is focussed on nature and the madness of mankind. On this second effort Grandval has turned into a two piece formation featuring Henri Vaugrand (vocals, bass, guitars and programming and Olivier Bonneau (keyboards, vocal harmonies, bass pedals and guitars, on track 11). Henri also invited a range of guest musicians, including Jean-Pierre Louveton (Nemo, JPL and Wolfspring) on guitars (3-6, 9 and 10), Mellotron and programming (8) and vocal harmonies (6).

In general the music by Grandval is hard to pigeonhole, it sounds like an adventurous progressive blend of several styles. Most of the compositions alternate between dreamy, bombastic eruptions, and dynamic accellarations. This is topped with a tasteful colouring by the keyboards (from flashy synthesizer flights and sumptuous Mellotron choir sound to tender piano and soaring strings) and guitar (often harder-edged with blistering and biting soli, but also some acoustic guitar). The undertone in the tracks is often a bit melancholy or ominous, due to the subject of this album. The vocals are pleasant, but a bit thin in the more powerful songs and parts.

The only instrumental composition is the first one entitled Exondation, it is also my favourite on this album. It starts dreamy with soaring strings and mellow synthesizer flights, simply wonderful, then moving electric guitar with howling runs and choir sound (evoking Eloy and Pink Floyd). Halfway some sound effects, followed by heavy guitar work and powerful drums. Finally a church organ sound and volume pedal guitar, in a mellow climate.

The album concludes with an inspired cover from the legendary French prog band Atoll entitled La Maison De Men- Tää (originally released on Rock Puzzle, 1979), which comes as an additional CD bonus track.

My rating: 3,5 star.

This review was previously published at the website of Background Magazine, the oldest Dutch progrock source.

[Originally published at The Progressive Aspect]

Grandval are a new band to me, but have immediately endeared me with their sound. Grandval may have begun as a solo vehicle for Henri Vaugrand, but for second album, Descendu sur Terre, they sound like a band ' even if all but one of the members are credited as guest musicians, making the band now officially a duo, I guess. A very French duo, too, which is fine with me. I am a fan of classic French bands like Ange and Mona Lisa, who quite clearly are influences; and I love Nemo ' who are the band Grandval are closest in sound too. Given that Jean-Baptiste Itier is on drums, and Jean Pierre Louveton plays a large number of guitar parts, and provides some vocals, too, this is probably unsurprising. However, while Grandval play a similar style of music to Nemo, it is certainly not the same.

You'd be forgiven for wondering what I'm talking about, though, when the album begins. As, before changing style quite dramatically after a couple of minutes, the opening track is unashamedly Floydian ' perhaps too much so, for some to enjoy. I definitely like it, but find it hard not to dwell on how close in sound it is. When the change comes in, it has great impact. From what I can gather, Descendu sur Terre is the second album in a trilogy, concerning the four elements of nature, and the madness of a fifth element (humans). Grandval's debut album focused on air, and Descendu sur Terre takes on water and earth. I can't help but think of the two distinct halves of Exondation being musical personifications of these two elements. It's a beautiful introduction to the album, but things only get better from here on.

I decided to listen to Grandval's debut, (A Ciel Ouvert') after enjoying Descendu sur Terre, and the difference between the two albums is astounding. There's nothing really wrong with the debut, and it's still very nice to listen to, but Descendu sur Terre blows it out of the water. The two biggest differences to my ears come from Olivier Bonneau and Jean-Baptiste Itier. Bonneau is the only musician other than Vaugrand not credited as a guest, but I hope that Itier joins the ranks officially, too. Vaugrand is a multi- instrumentalist, but it's his bass interplay with Itier that really works for my ears. Whether playing right or loose, the rhythm section is amazing on this album. And I love Itier's drumming. If I didn't already, I definitely would within the opening moments of Un Nouveau Destin. Itier's drumming definitely puts Descendu sur Terre on a new level, compared with the debut, and without a doubt is able to capture the madness of the human element. The dynamism Itier brings to Grandval cannot be denied.

And Bonneau? Well, it's hard to tell, as he and Vaugrand both play keyboards, but so much of the playing and arrangements on Descendu sur Terre are different enough from A Ciel Ouvert, that I assume a large part of this is down to Bonneau. The keyboards play a huge part in the overall sound of Grandval, and Bonneau appears to be the perfect foil for Vaugrand, upping his game so that the diverse keyboard atmospheres are all quite incredible to hear. Whether psychedelic, fusion, or trip hop, the keyboard playing is on point.

Puissances de l'Infiniti is a short, almost Porcupine Tree sounding, song which doesn't really have enough time to develop, and seems to falter and fall away before it needs to, but the introduction to following title track is so gorgeous, it doesn't matter ' although again, it's all too short, as the bombast takes over the calm of the opening. But it's a thoroughly enjoyable romp, even if it fades out when it still seems to have quite some life in it. But if my sole criticism is that I wish the songs played out longer, that's hardly a negative. I just feel that there are musical ideas here that deserve to be developed further, and the ending arrives too abruptly. But that could well just be me, and others may have no such problems. (I am aware that in the past I have made such a comment about a song being too short and fading out unnecessarily, to find that I was very much in the minority.)

On a more positive note, I love the percussion and sound effects that usher in Fractal et Syst'mique. There's a very watery tone that's entirely appropriate for the theme of the album. And, wow, again Itier shows just how impressive his drumming is. And his presence in the mix also reminds me to make a comment upon the production of this album. While there is no way you could call the mixing and overall production of debut album, A Ciel Ouvert' poor, there was to me a simplicity and almost DIY nature to it, that is completely absent on Descendu sur Terre.

Following this track is Le Chemin a l'Envers, which was released as a single ahead of the album. The choice of this track as a leading single surprises me, as although it's quite nice, it is hardly indicative of the more modern sound of the album as a whole. Le Chemin a l'Envers definitely harks back to classic French prog, to the point of almost sounding dated. Perhaps this is intentional, as what little I remember of the French I learnt in high school translates the title as The Way Back. Regardless, I'm not convinced at all that this is anywhere near the best song to promote the album. It's a quite beautiful ballad, but if it were the first song I heard from Grandval, it wouldn't have made me want to investigate the band further. It's probably the least interesting song on the album for me, and although I do like it (don't get me wrong), it is as part of a whole.

Il Existe une Etoile in its length shows what Grandval can do when given time, room and space. I do wish other tracks (for example, as aforementioned, Puissances de l'Infiniti and the title track) had been afforded this luxury, as when Grandval are able to stretch out, they really shine. I'm not sure if this is my favourite track overall, but it's right up there if not, and definitely several of my favourite passages of the album occur within this song. I don't think it's coincidence that my favourite songs on Descendu sur Terre are the longest.

That said, the following La Muerte est dans la Place is also a definite favourite of mine, and (apart from Puissances) is the shortest track on the album. It's also unlike anything else on the album ' but it's quite fantastic. Although the track does have an end, the manner in which this occurs, and the way Br'ler dans les Flammes de l'Enfers follows immediately, works almost as if the songs segue ' and the first time I listened, without paying attention to the track listing, I didn't realise immediately that I was listening to a new song. Br'ler is almost like the inverse of opening track, Expondation, for if it did not return to the opening theme, it is a song of two halves, with the second being decidedly Floydian.

Descendu sur Terre could have ended quite nicely with Br'ler dans les Flammes de l'Enfer, providing the album with sonic bookends, that while somewhat clich' are effective and pleasing to the ear. But Grandval have one more trick up their sleeve, and the third longest track of the album is another completely engaging and entertaining epic. There are hints of bands such as Rush and Deep Purple, which I've not noticed anywhere else in the album, in final track La Vie, Pourtant, La Vie, as well as some of the most incendiary guitar solos. It's a quite glorious finale, ending the album with extravagance and panache.

The CD also contains a bonus track, a cover of La Maison de Men-T'' ' which is incredibly good, but which does kind of spoil the perfect ending that La Vie gave Descendu sur Terre. It's a double edged sword, I guess, as I'd have hated to not have this track, because it's very good ' but at the same time it's presence here just feels wrong. On my iPod this is solved by keeping the cover, but not as part of the album. It's nice, though, that the bonus track is part of the physical release, rather than the download ' as so often, it is the other way around. And, unlike many bonus tracks, this one is well worth hearing.

If you enjoy the theatrical nature of classic French prog, and want to hear it with a modern and contemporary production and aesthetic, Descendu sur Terre should delight you. There's a freshness and charm to this album that is extremely pleasing to my ears. If the final part of this trilogy raises the bar even half as much as this album has from the first part, then it will be something incredible. Grandval has set the standard high, but given what I've heard here, Vaugrand and Bonneau, and whomever they bring with them for the next stage of Grandval definitely have what it takes.

This is the second album from Grandval, a project brought together by Henri Vaugrand (vocals, bass, guitars, programming). On the debut he called himself Grandval, but now is using his real name, no more hiding behind a pseudonym. He has also doubled the line-up as Olivier Bonneau (keyboards, vocal harmonies, bass pedals and guitars) has joined as a full member, with the rest of the musicians listed as guests. Colin Tench (I still cannot believe he is no longer with us) contributed to the debut album, as did Jean Pierre Louveton (JPL, Nemo, Wolfspring), and the latter has returned again this time around, but instead of just providing guitars on a few tracks he is now far more involved throughout and also provides mellotrons and keyboards. He also brought along bandmate Jean-Baptiste Itier so there are proper drums on this release.

The drums are a real highlight for me, as they cut across and through music which is very layered and structured. The bass provides the consistent melody, while guitars are often providing single notes as opposed to riffing chords and the keyboards are multiple and quite intense. The approach feels modern and light, yet in many ways this is looking back to classic Pink Floyd and Eloy. There is only one instrumental on the album, but it is not unusual for the band to have extended instrumental passages. All vocals are in French, and they show a clear understanding of where they come from in that there is a cover song at the very end, Atoll's 'La Maison De Men-T''. Fresh crossover progressive rock with symphonic elements, this is an interesting album which feels both familiar yet quite different to what is currently out there and is certainly worthy of further investigation.

I sometimes think progressive rock is like the aristocracy of other independently produced music like punk or alternative. What they (the musicians) all share is the desire to create music on their own terms, putting in as much energy, innovation, creativity, and imagination as they see fit in order to realize their visions. Stepping out of the mainstream often requires a lot of self-sufficiency, and while the do-it-yourselfers have always been around, in recent years, thanks to technology and the Internet, many amateur progressive rock musicians (or semi-pro as some cases may be) are now able to put together an album's worth of music and through various Internet forums they can promote their music and sell some CDs or downloads. However, unlike past days when self-produced music often lacked hi-fidelity, these modern recordings sound very good when the persons responsible for the mixing know what their doing.

So here's Grandval, a band project of Henri Vaugrand. According to his bio, the music here was composed some 15 years ago but only this year was at last released on CD. Far from being a one-man band though (he sings and plays guitars, bass and keyboards), Henri gathered a number of guest musicians to help colour the sonic palette of his album. Guest guitarists are Steph Honde of Café Bertrand and Hollywood Monsters, Jean-Pierre Louveton of Nemo, Kevin Serra of Quantum Legacy, and Colin Tench of Corvus Stone, CTP, and Oceans 5. On drums we have Marshal Semonsut, providing real percussion for most of the album.

The album does have a DIY quality to it perhaps in its simplicity regarding instrumentation. There's not much layering except to create a vocal chorus and there's an "unedited" aspect, to borrow a term used by a reviewer in Prog Magazine for another self-produced album. Don't expect a big shiny Steven Wilson sound or Big Big Train level of production. The quality of the mix and overall production, however, doesn't mean that the album sounds poor. As I wrote above, if the artist knows what he's doing, an very fine result is possible, and I feel Henri has achieved that here.

My opening remarks in this review were inspired by the somewhat simple approach to the mix: vocals, guitars, keyboards, bass, drums. There's a rawness to the guitars at times that are reminiscent of some late eighties/early nineties alternative and so-called shoe gazer bands. There's also a slight looseness often in the music. However, rather than detracting from the enjoyment, the style creates its own atmosphere, and the guest guitarists find their way in working with it. Particularly I enjoy Colin Tench's contribution to "Comment les loups changent les rivières", a song inspired by the documentary film "How the Wolves Changed the Rivers", and also Jean-Pierre Louveton's solo in the title track.

The music basically has a hard-edged guitar sound which is tempered by the synthesizer and vocal melodies so that the music doesn't come across as heavy or aggressive. Indeed, Henri's vocals have a youthful yet soothing quality to them and the multitrack vocals bring back impressions of the seventies Québécois prog scene, of which several bands are known to Henri. Of course to be considered for this web site, one must expect that the music goes beyond the alternative rock sound I've likened it to. Tracks like "Maîtresse Eternelle" and "Aktion T4" exhibit Grandval's progressive side rather well as do some of the other tracks.

I also quite enjoy the final track, "Au Delà De Ce Grand Val" which is only 3:11 in length and has a kind of rap feel. The percussion here sounds programmed and again that looser, DIY feel shows up more strongly, but if you enjoy the sound of the French language and Henri's voice like I do, then you'll appreciate his enunciation and how pleasing and cool he makes the French language sound.

Keeping in mind that many of PA's prog connoisseurs are looking for something perhaps a little more involved, I rate this album with 3 stars. All be quick to add, however, that I enjoy it and often go around with songs in my head from "A ciel ouvert" and enjoy listening to select tracks and even the whole album often enough. I welcome anyone interested to give a listen to "Entendre les engoulevents", "Aktion T4", and "A ciel ouvert" on YouTube. This could just be a new sub-genre of DIY, alternative progressive music!