IT ALL BEGAN WITH LONELINESS

THE ANCHORET fusion metal and prog rock, music combining percussive riffs with varied jazzy, bluesy and heavy breaks; a little PAIN OF SALVATION, EVERGREY, ANDROMEDA, KAMELOT, a lot of OPETH, a touch of old PINK FLOYD and KING CRIMSON for atmosphere; sax, flutes, a Mellotron, in short, modern progressive metal for this first album.

"An Office for..." tune to GILMOUR in the introduction, which seats the spectator; languorous choirs and plaintive sax which surprises to announce "A Dead Man" marking the color, heavy black with triple pedal; the voice of Sylvain from KARCIUS, deep and gripping, combines with the destructuring riff in the style of an OPETH from before, the true extreme prog; a flute comes to sow discord quickly coupled with an organ like in the good old days; and Leo gives us a superb guitar solo just to show it's heavy, well constructed. "Until the Sun Illuminates" continues with this heavy prog metal sound, a machine-gun riff and Sylvain with his gravelly voice leering on PAIN OF SALVATION, Andy distills his synth and old keyboard; a melancholic prog death metal with a note of hope, having wings; synth break that boils, angry riff that hurtles down, gripping vocals and vibrant sax before the heavy out-of-tune finale. "Someone Listening?" » pileup of heavy drawers and jazzy crystalline escapades; a break full of emotion with the sax giving in sensitivity, emotion, we are far from 'hard' as the riff could lead us to think; a sax solo yes you read correctly which engages with that of the guitar, bluffing. "Forsaken" and the sax attack then frontal attack between Devin TOWNSEND, OPETH and BETWEEN THE BURIED seen recently, knowing how to navigate between hard prog and jazzy atmosphere right in the middle; guitar solo, growling voice bordering on growl then a keyboard eyeing the DREAM THEATER, it goes in all directions; return of the sax to calibrate everything; Oriental break, Gregorian all at once to deliver a progressive blow.

"Buried" for the radio edit, short title surfing on the heavy and fast air, a heavy machine gun riff, a heavy depressive atmosphere, in short interheavy! "All Turns to Clay" for the extreme fusion between vocals and stressful riff, the growl again at the doorstep; and then, and then there is this sax that sets the fire to dance a drunken dance from home, the thing that you don't know how to dance; almost saturated expressive sound, on an AVENGED SEVENFOLD, the voice starts more and more on a Jorn LANDE before the air brings us to a latent riff break and its disturbing Mellotron in the background. "Unafraid" strings detuned forward, jerky air, hold the ALICE IN CHAINS with their characteristic choirs, memory; the swirling synth, the metronomic riff, the more relaxed sound, the break ah this short break it moves my legs a good sign, it rises with the voices, the groovy sound in the tradition of TOOL of course; Hey JETHRO TULL comes for a solo flute tour; the ears have become acclimatized to the heavy sound and only hear the crazy breaks parts. "Stay" stay is the end; a classic piano intro, warm voice, a slow US like that of a SURVIVOR, a BLACKFOOT? In short, the ballad injected with emotion with Sylvain who lowers his vocal performance; Leo's solo is melodic and airy, it rises to a hypersphere or almost, Andy hooked on the guitar comes to pour in a few touches of Mellotron to make you swoon up to the bluesy note and the return of the piano from the start, solemn, touching.

THE ANCHORET therefore releases a musical slap, a first draft of long worked tracks oscillating between hard, prog, jazzy, groovy and bluesy; a prog metal, prog death and prog jazz album that shakes up the codes with varied instruments that are not often found together. A discordant album which raises questions at the start, but do not hesitate to put it back from time to time and the prog magic operates over time, the spell operates, the notes are lost in our musical memory space and make this album a fine example of creativity from today's progressive world.