ANGE

— First review of this album —

ANGE, the most famous band to have remained unknown in the French music scene, the most controversial of the last 50 years. The quintessence of progressive rock at the start with an A'dieu in 1996, a rebirth and 24 albums to the counter today before this EP to wait for the after ANGE.

'Hadar Mumbai Lhassa' and the instrumental that served as an intro for the last tour 'Cunégonde Tour': crystalline air of the xylophone on the solemn climb; 7 minutes of atmospheric-ambient prog variation to settle down, wait for Christian's last concert; in short for all those who were able to attend, it is the opportunity to awaken your memory and vibrate already. 'The tears of the Dalai Lama' with the Tibetan trumpets, the fat, calm sound, Tristan takes the voice first; the father and son duo that should have been exploited well before I think to make a little more room for him ... to the son, but it is only my opinion that I share, in short bewitching with the ear that is already getting used to this smooth transition. Well the symphonic finale as usual.

'Leaving the pack' with this ethereal Wilsonian riff and Tristan on vocals since that is the goal; the most this solo halfway through giving a more modern vision of the sound to come, that of the after? Hassan since it is indeed him I am talking about, strikes swirling notes making the sauce rise; the alkaline piano then the keyboard fit into this new, nervous, shivering progressive space. Avant-garde ANGE. 'Cunégonde' with Christian on strange vocals, will it be on the album? Words worthy of him, a bewitching ballad, a way of putting his mark on the future album; ambient break with his phrasing voice, bawdy with an angelic sauce. Will they be able to save today's increasingly bland music world? The untrained audience applauds before the apocalyptic end with the pharaonic, powerful, redundant crescendo. An intense instrumental and progressive moment showing that it is still possible in 2025. 'Pace nobilis' delicate ballad, crystalline keyboard accompanying tristan and his sensitive voice; a crescendo that gives pride of place to the air above all, a captivating, heady chorus, a little latency and the mantranic vocal-synth finale that rises, rises, modern. (3.5)

As I am yet again listening to this wonderful live album (got it sometime early 80s), I am moved to finally do something I've never done before - write a review on this esteemed site!

Ange's live album Tome VI from 1977 is a masterpiece that, in my humble opinion, stands as one of the greatest live albums ever recorded! This album captures the essence of Ange's progressive rock brilliance, delivering an electrifying performance that transcends time.

It doesn't bother me at all that I don't understand much about what they are singing (in French) - from the moment the first note hits, the listener is transported into a world of intricate melodies, emotional vocals, and intense and mesmerizing instrumental solos. The band's synergy is palpable, with each member contributing to a cohesive and dynamic sound that is both captivating and awe-inspiring.

This album is a testament to Ange's legacy and impact on the progressive rock genre. It's a must-listen for any music enthusiast and a shining example of live performance at its finest. This album is a timeless treasure, and for me, it is one of the best live albums ever made.

1. Butterflies, Flying Kites with the sound which is further modernized, given the synth and the slow and long tempo, which drags on; by far a long title, by near a title which will not be a landmark, the group being simply rock focused 2. Outlaw for the dynamite boogie rock air, a title which takes on wanderings from previous albums; very good for those who don't know, unique and perplexing the fan, ah aleluia what; the pulse is taken, the titles are elongated, not good for the moment 3. Wood Works, Even on Sunday intro Serra from 80 and 'Sève' from 89; Tristan tries his hand at singing, Caroline too, one of the annoying points, no she did not know or be able to make her place; the title is based on a monologue from Christian, bursting out to the point of a crazy break, a fusion of contemporary jazz rock and screams enhanced by an angry guitar; the prog is no longer what was hoped for, we are getting closer to a cyclothymic MAGMA, a warlike BROGUIERE; the dark eponymous piece, with a captivating climate which would have deserved live recognition just for the finale to TANGERINE DREAM which shocks and shows a forgotten part of the group 4. Under the Nose of Pinocchio, this strange title borders on heavy rock with a jerky crescendo and a singular air, between world trance and crazy rock; a sudden break with string instruments, ah synth when you hold us, keeps the ear in suspense 5. Voyage En Autarky spatial keyboard, easy a cappella voice, Christian on the sugar battle, yes when it is his voice that keeps you in suspense; the words pile up and intertwine to create a crescending monologue; difficult to access

6. Never Alone in acoustics, on a text that is always gripping, having nothing else to say but doing it very well; accordion for one of the rare times, a nursery rhyme finally to sit down and admire the voice once again 7. L'Oeil Et L'Ouïe in a piano bar atmosphere at night, preferably jazzy; it's in the head that it's going to happen; and here as an aside, why have these titles never been performed live, why have we always included the unmissable ones? Yes I wonder because this piece has everything of an angelic sound; the finale with this enjoyable orchestral rise and a beautiful solo from Hassan which follows Christian's cry; in short I persist why not put it live, it was well worth it; a crescendo as I like without diet 8. White Clown and the guitar riff reminding me of the Crimson King from the 'Discipline' era; well otherwise a story of a queen of spades, an echoing vocal with choir and Caroline that many have snubbed, well what is she doing there... Well she was part of the group all the same 9. Checkers And Dominos go after the cards let's walk with dominoes for the languorous ballad which honors the syrupy keyboard; Christian plays with his voice, I would say as usual, with warmth and delicacy; the final cinematic atmosphere too short, 10. Collines Roses with Caroline in front for an invasive dark wave piece; Tristan for the distant choirs shows that he has more to do than that, yes it is said; good one crescendo one more for a monolithic tune a bit soporific 11. Ultime Atome (Anatomy of a Tale in Rebours) arrives, from the ANGE as we like, soft, gripping and hypnotic in the phrasing; the break also on an avant-garde chamber orchestra with brass, bells, as if the atoms were about to collide; the rest starts with a languorous guitar solo, marshmallow, yes I like that word, it makes me hungry; it's spatial prog, between sweet melancholy and hope in vain; to make fun of the detractors I like; it continues with 12. In the Shadow of Pictograms and its endless melodic flow, words coming out of Christian's mouth as if it were raining; the pictograms let the sound come, the violin on metallic percussions, the Cello, the guitar of the London gangsters comes to light, the progression is there and becomes grandiloquent; do not underestimate this Dantesque finale and remember that Ange is immortal.

After the nice surprise of the album "Le Bois Travaille même le Dimanche", in which Ange had successfully explored new rhythmic and harmonic tracks, the band signs with "Moyen-Âge" a return to their roots, without managing to offer a coherent whole.

Indeed, the album starts with four tracks of uneven quality, and then continues with the eponymous "Moyen-Âge", eight very good tracks to which they should have added, in my opinion, "Opéra-Bouffe Ou La Quête Du Gras" which would have been in perfect harmony with the deliberately polemical tone of the album.

Indeed, this is a committed work in which the excesses of the digital world are denounced ("Les Clés du Harem"), as well as the inadequacies of political power in the face of growing social inequalities ("Un Goût de Pain perdu") or the confinement of the individual in an egotism encouraged by the new technologies ("A la Cour du Roi Nombril"; see which refers to the cover showing an individual curled up in a fetal position, sucked into the emptiness of his existence, clutching his mobile phone and wearing a disturbing-looking earpiece).

Nothing surprising for those who know Christian Décamps, who is used to punctuating his concerts with diatribes inspired by the woke left and who never loses an opportunity to vomit on religions, Christianity in particular, while Islam remains a taboo subject for him, either out of sympathy or out of caution... The album is also sprinkled with more or less open allusions to eminent public figures, among whom the French listener will easily identify the former President of the Republic Nicolas Sarkozy and his wife Carla Bruni, as well as Dominique Strauss-Kahn, the former president of the IMF.

In conclusion, an album that contains some very good tracks, but that misses the excellence for lack of a more accomplished overall vision. It's therefore difficult to decide between three or four stars, and it's finally the last track, "Abracadabra", a wink to their 1976 "Hymne à la Vie", which finally inclines me to give it the fourth star.

ANGE is the most famous and controversial French band of the last 50 years... From memory I quote its founding 'father' Christian who continues the epic after the split with his brother Francis by saying all cheerfully... Ange is the best band in the world to have gone unnoticed, in short! It is the embodiment of what can be done better in terms of progressive rock, a waste for our country living superficially, backwards with feelings of nonsense! (I heard "Ces gens-là" for the first time on the radio, however, at a time when reason still existed, wonderful composition and recovery of a great man of French music, but I digress!). In short, ANGE released a good album last year and it was a column for our friends from Quebec that I had done from memory, they who love speaking French. So let's dive into these 67' disparate tracks: "L'autre est plus précieuses que le temps" tries its hand at a potential radio hit, at a time when it was still possible, giving its all live on the A of Father DÉCAMPS' voice.

"Ce que murmurent les pierres" starts with a "crooner" song à la Michel JONASZ, a beautiful consensual ballad. Then comes one of the 2 bombs of the CD "Jour de chance pour un poète en mal de rimes" and its title of almost 9 minutes, alternating enjoyable solos at the beginning and end with the great guitarist Hassan and soaring moments in between; we are in a master piece quite simply, in any case the best piece for your servant! Oh yes I haven't dissected this piece I'll just let you take my word for it "Sens et jouissances", a small variation of sometimes bawdy words, a part of the universe of ANGE with words in the form of musical notes. "Nancy-jupiter à la nage" arrives with a repeat of "Si j'étais le messie" and "Capitaine c?ur de miel", nothing less! Inside, we find stone sounds from Fabrice BONY, breathtaking solos from Hassan, a typically prog atmosphere with breaks, ambiances, moments of serenity; it's a bit of a mishmash with an obvious desire to please, to make us dream again of the angelic progressive world. The titles "à tort ou à raison" and "heureux!" will suffer a little from the lesser intensity, especially based on the words of father DÉCAMPS, while for "Charabia" a bluesy air emerges; the alternation of old airs with other modern ones which sometimes clash roughly. "Chante n'importe quoi" is disturbing on the first listen, allowing you to thumb your nose at what is often played on French radio stations, well, I was just talking about it in the preamble; lyrics to piss in a violin, oh my, Father Décamps really hates this overrated world... That was in 2018, so imagine today in 2024 with the world even crazier!! A stage title with the endless cover of Tristan's almost ambient keyboards... Here's a return to the last album.

1. All the Boomerangs of the World for the lyrics, the fluidity, and the acoustics, for the Middle Eastern fade-in... a coat rack, an engaging tune surfing the wave. 2. Les Écluses, again, the acoustic, highlighting the vocals, that voice that some will never be able to erase or replace; an album to fan the flames, to restart this iconic band for the umpteenth time with this languid classical tune, with a redundant chorus and the finale that finally adds a little spice to the violin fade-in. 3. Dieu Est Un escroc, a substitute for this previous track, with a bit of groove to embrace the turn of the new millennium; 8 minutes with a monolithic narrated text, a dynamite linear crescendo that's heady but annoying, filling? You have to wait until the 6-minute mark to wake up a little, but it's a straw in the pan since the tune is indeed a crook for having filled it at little cost, in short, a disappointment. 4. Nouvelles Du Ciel with Tristan on vocals, and what a sensual pleasure! Well, I repeat, it was the perfect time to at least do a duet at the beginning of the new ANGE; a beautiful romantic piano ballad with nostalgic melancholy, with the synth about to take over; in short, solemn, delicate, and progressive, I vote for it. 5. Interlude for the Christian-style palaver, always his desire to talk more than anything else. Well, we must be near St. Louis Hospital, I think, given the view, listening to his lyrics, a small dose of children's singing, and presto, the interlude is over, a memory sequence. 6. Où Vont Les Escargots? for the consensual piece, a slow rhythmic rise like the tracks of snails, the scent of many old songs found here; a marshmallowy tune that relaxes and surfs on the soul of ANGE.

7. Coupee En Deux with Caroline as a guest narrator. So, a first part that intrudes on the album? Question: what's the point other than the bluesy guitar solo? Oh, the end with Christian, that was definitely ANGE. Otherwise, I'll pass. 8. Les Beaux Restes for the title track symbolizing the band's spirit now; a synth base for the groovy side, the vocals that diffuse, and a touch of narration like in the old days; Tristan adds his touch. Well, this duo is excellent, I repeat, bringing energy and diversity. Oh, the guitar solo that pours out, scatters, nice even if a tad too long and lacking a prog structure! 9. Souffleurs De Vers (Synopsis) with Caroline explaining, as in 'Sève qui Peut', the story of a basic ambient piano. 10. Souffleurs De Vers (Film) for the eponymous track with Hassan's bluesy guitar, remember his connections to this musical genre; the track navigates between memories, reminders of yesteryear, and a mellow keyboard, a suave atmosphere. The break is delicate, arriving with a 70s vibe, a RIO space also reminiscent of the madness of MAGMA for the most imbued. When it starts again, it's to have a mind-boggling compulsive mantra before returning to the primary ambient state; go for a second escapade on ART ZOYD, the zeuhl, surely an impulsive desire that I don't understand with this raw, bombastic chorus that makes my hairs itch. One question: why hasn't this track been played more often live for a finale that's once again explosive? I ask because the progressive intensity reaches its peak on it, whether we like Caroline or not on it? 11. Personal Journal as a final interlude, for its immortal thoughts, a little country stroll in the area. (2.5).

1. Love/Hate with the narrative intro to announce the concept film; Quercus explains his role, his life over a grandiloquent rock sound; classic synths, Christian singing like his very theatrical son, an omen; fat synths 2. Living With The Heart and the synths that continue, Quercus like the schoolmaster of the famous film narrates each title; on classy pop with colorful lyrics from Christian 3. Les Plaisirs Faciles with an energetic riff, a metronomic keyboard, an overly typical text and a very marked marshmallow piece where the drums float on a 'Subway'-style soup; go to the autumn winter catalog on sale 4. Gold, Silver and Light divine or angelic intro choose for a beautiful progressive piece that would have deserved to be played in concert; arpeggio, period harpsichord, languorous voice, explosion and orgasmic rise in D minor for a fresco... hey can you hear me? The chorus is a bit dated with a not-so-innocuous wake-up call; solo, voice and the dreamlike crescendo starts again; the catchy drum-synth finale, the guitar solo which, on the verge of good hard rock, makes this piece enjoyable with the riff eyeing another angelic title, the panard

5. Breaking the Ice ...if the Phrygian is ignorant...the title soft like a nursery rhyme for the text to incorporate and forget the rest; well the world is crazy there is nothing more to do; the stereo choirs, the syrupy keyboard, the latency, the sticky guitar solo and the Louis Jouvet-style voice as tendentious as ever 6. Les Amours-Lumières with one of the most beautiful songs on the album to the point that I have to dry my tears; sweetness, emotion, spleen, memory, intrinsic beauty; the real, imaginary sax adds the romantic tear to this air which unfolds on its own, with a particular flavor of concentrated 80-90 prog latency 7. No!! for the cry of... revolt with a cheerful air and a somewhat simplistic text where the keyboard takes the lion's share, yes Jean-Pierre must have been happy; narrated text without image or almost, push me yes well even for a witch it's olé I wrote; the most this solo which tears Haasien and Hardien to finish the enjoyment 8. Great Feelings go Louis finally Quercus go ahead we listen to you; a hymn to revolt on a fresh, changing but vintage keyboard, the voice-orchestration association is slow to come together and only the guitar saves this piece a little. 9. Sève Qui Peu arrives, Quercus with its bio-nature message a little eco-friendly before its time; rumbling synth aided by the metronomic drums introducing the anthem, the march towards the Elysée, uh the Bastille; a grandiloquent text on a tune of the same lineage, a crescendo which gives a little air with this last guitar solo which reminds us that Ange had great guitarists, two here in addition; the finale returns to the sound of the start before a drum roll.

1. A Jeun by the great Jacques, who will be the most covered man here; a bluesy alcoholic tune about a serious and oh-so-banal fact, a story of deception or almost with a character whose despair, cowardice, sadness are kindly pointed out, take your pick; well, the synth and André advise against going through with it, come on, in terms of sound, I'm thinking of the great Charlélie too. 2. Le Rouge Et Le Noir by the great Claude for a tantalizing swing-rock tune with melting riff and synth, the hard-hitting riff and the amazing guitar solo that transports me, yes, there's some good in it. 3. Le Bal Des Laze by the great Michel for the killer intro; a build-up with an incorporated pad, the keyboard that finally resembles ANGE, ah, if only all the songs had had this variation, this suavity, this refinement!!!! Well, I'll let loose for the finale, but I think it's really refined and the best, as you'll have understood; Jean-Claude overdoes the pad rolls, Serge the neck of his guitar, a Stratocaster? In short, a beautiful stylistic exercise, a delightful build-up just the way we like it, and this mid-tempo with a dark wave, cold wave flavor, yes, this song is just the one that will send all other covers to the bottom of the drawer; ah, that finale with the guitar that speaks, that speaks, that rises and never ends, ah, that soaring, ah, dying of pleasure, and that ending that never ends; a cover, but a beautiful cover.

4. Le Moribond by the great Jacques, wanting to recreate these people? In short, a cover for the band that's searching for itself; the most energetic beat, the synth and the guitar very much in the 80s spirit, a good stylistic exercise for the moving cover. 5. Les Copains D'abord by the great Georges on a nervous, impulsive ska rock tune that denotes the original song, so suave, but with just as many stings; In short, the pad and keyboard work together to give energy to this band that is changing members a little dangerously. 6. Tu Te Laisses Aller by the great Charles with this hyper violent, hard lyrics, about this torrid, treacherous relationship, well staged; the keyboard throws out the riff and lets Christian take on what any man might think one day of his fiancée; so be careful, gentlemen, she might think the same thing; in short, don't let yourself go and listen to this keyboard solo, very much in tune with the times! The prog finale with Serge's always tenacious guitar. 7. Il Est Cinq Heures Paris S'Eveille by the great Jacques, not the other one! A keyboard forward and muted, the guitar that squirts like the poop scoopers who passed by at 5 o'clock when the city was dirty or cleaner than today! The energetic new-wave pop cover is proven with the Flash-like synth note, the alarm clock, and the pinched voice for the monolithic, cheerful title; the moment to realize how a pop song can actually become prog...

Good after the delirium and before Mandrin, it was necessary to turn the page and release a concept under a pale air, an album which would speak of the soil, which would do honor to France, the real France, those of feasts, that of parties, that of legends!

1 Bêle, Bêle Petite Chèvre devil this title, for the air syncopated with the zik which attacks poor Christian and this marimba, it hits and it disturbs, a little in the madness, in short by all the saints it gercles even for the maidens , violent disorderly and out of tune, magical, bucolic I would say finally, ta ta ta tata; Come on Emile, we're listening to you, tell us about the goat 2 Sur La Trace Des Fées ... these are legends ... the arpeggio, the keyboard, the sound, the sound that orchestrates oh no, I'm wrong in the title .. in short, in white dresses we saw them well spent on the way on the point of the lake of Orient, all naked dressed with a torrent which passed on... the trace of the fairies; the slap for those who don't yet know Ange, yes the world is like that; the arpeggio returns to the left, Christian adjusts the balance by returning to the right, yes the drums delight passing on both sides, the organ wants to be more majestic before returning to the hammer... the words and sounds intertwine; Vintage album that has aged, for cold autumn evenings 3 The Dwarf From Stanislas arrives, even though I'm struggling, too present this dwarf, this voice, this air I don't know; good why, rhythmic yes, captivating yes, perhaps the voices that attacked me too much and whirled around; go hollow your head... yes surely a reflection of the padre who did not understand how I could listen to that; good the phrasing of if I were the messiah and it starts on a blue space, well of light, the dreamlike orchestral crescendo which swells; we are really in a particular universe 4 Day After Day ... nursery rhyme in one fell swoop on guitar arpeggio, organ by Francis which gives the la, not the sound; title that you listen to, that you drink, that you incorporate, text that you take in your head, day after day... and you are already waiting for Emile who will come back to talk to you around the village fire hydrant... the following the trace of the fairies for me 5 Ode To Emile with the sequence, so his prog! Excuse me Emile, my grandfather's first name, I'm listening, yes, we're resting, you're right, I'll start; the chimney, the plow are there, let's go on a bucolic air, an ode what; jean-Michel distills a fine angelic solo, sensitive as this last wine that we sing and we will wipe ourselves.. here is Emile it's for you. 6 Ego Et Deus yes Vidocq I can't help it, I'm thinking of them! 75... 48 years since he left... a straw, the age of recklessness, of life without major problems, without war, without all these constraints... the ship is his captain and can sail on a title flirting with a Higelin, with this lyrical flight that makes me laugh... the concept has been launched, we don't know it, but this blue flower title with colorful organ and guitar leads to 7 J'irai Dormir Plus Loin Que Ton Sommeil for the pompous title with its symbolism, its reverence and the nursery rhyme that puts Christian forward, yes he has, he had a box on each title of each album; we won't go into the details, you're clean with the message, but we're on the verge of ecstasy, Christian stop teasing us 8 Aurélia arrives, hello a drum hit, Jean-Michel in arpeggio and a title whose words I forget, a writer's slip that... Aurélien to the south of your breasts anyway! An angelic digression where Francis imprints the progression, the one that the French quidam didn't grasp, didn't understand... Aurélia yes it's more logical as a first name... to the South of your breasts 9 The wedding we feel coming, a bewitching organ that comes year after year; Guénolé, the new drummer, claps his drumstick... we're at mass; well the party is here with the last hooch and the veteran who will sing... come on guitar and a very bucolic, very enchanting, very Genesis-like hunting horn, you won't take it away from me; it wanders on a Frankreich country break on the other side of the Saône, where we take the time, where time goes away... and the music in all that, what do we do with it, but we dance sir you know the album so dance and enjoy before the 10 Le Marchand Des Planètes comes to defrock you... a little honey, a little of all that and I find myself here in 'Wind and wuthering' the last title, the one that makes you high at the very end of the said opus... jazzy break, angelic break easy to write, a wandering that closes this album really not as usual, we have the impression of having lived a moment with the group around the fire... oh yes that will be later; final spleen guitar.

Angel, of course, it's magic or angelic, it's up to you.

1. Fils De Lumière for the intro, the audience, Jean Pierre's drum solo and the atmosphere created 2. The Long Nights of Isaac for the rest with the spleen guitar, the belching cries of Christian and this beautiful two-step climb 3. Ballade Pour Une Orgie for good evening, one that you take for yourself; memories for those who were there; for the presentation, for Francis' magic organ, for this nursery rhyme that you learned by heart without doing it on purpose; 4. Ode to Emile for the history of the marsh and the feeling of being in a non-religious mass, come on Emile was my grandfather too; short secular listening for the sake of it 5. Dignity because on the album the sound was really old-fashioned from the start, and here in concert with this break on the flute and the organ it is simply divine; the rest you know; ah if after a while we really get a whiff of TANGERINE DREAL then of 'nous sont du soleil' by YES... listen, listen also to the wonderful solo of Jean Michel before the grandiose finale, worthy of a movie soundtrack 6. Le Chien, La Poubelle Et La Rose just for the prog intro as desired, just for this unique moment, yes go look for this title on an album; grandiloquent, enjoyable, explosive, just that; after this title is just written in our collective unconscious and cannot be removed from it 7. On La Trace Des Fées for my favorite title, yes it's him especially since I know how to go to the tip of the island where I see them strolling in white dresses 8 to 10 Hymn To Life: Canticle, Procession and Hymn... the 3rd slap in the face for those who claim that Ange doesn't know how to make great songs... How can we miss a title this good, this magnificent; a delicious triptych which will rise to a crescendo and give its credentials to the group, thank you Francis, Daniel, Jean Pierre, Christian and Jean Michel. A solemn title often put at the end of a concert to say, well, we still have a few minutes left; I'm crazy, I see infinity, but how good is this finale, with this riff from another time and still current; and for another, another 11. These People, that's it, it's over, so we listen, we digest, religiously; the title that makes you scream no because you know it's true, that they have to go home.

An unrecountable live performance, quite simply indescribable.