BARBARES

French progressive group Nemo has finally arrived, proposing a contemporary slice of modern prog that has "today" stamped all over it , dealing with the current conflicts in Iraq and Afghanistan. These 4 stellar musicians have expanded their craft into a completely new transformation, fusing the classic recipes of past references (yeah Rush is a strong one) with a sound of their own, a heady mix of jazz, power-rock with tons of Middle Eastern motifs and a manic euphoria that exudes charming confidence. Guitarist J.P. Louveton is quickly becoming the talk of "guitar town", a crunchy, filthy and rabid tone and style, where blister and bluster combine to create some spellbinding explorations. Keyboard master Guillaume Fontaine has become a fountain of creative genius, searching out new sounds especially on synths where he tortures, caresses and discharges some phosphorescent solos that char, sear and carbonize. Bassist Lionel Guichard and drummer J.B. Itier coalesce into a panzer onslaught of rhythmic aggression, providing an artillery barrage of booming beats that keep things super fluid and ultra mechanical at the same stroke. "LOI" (Law) ignites the proceedings with windswept feedback and effects, as the gurgling synths swerve between the mechanized guitar slashes, initiating the offensive that will unleash the deadliest sounds. Louveton's axe cries in agony, ear-piercing eruptions fed by a loopy desert bass and assertively arid drumming. The whispered vocals relate the sacrifice of Ken and Jim, coming to Muhammad's help in ridding tyranny from the land of a thousand nights, in a spirited anti-war tirade that has moral substance as well as scintillating technique. The insane soloing are definite highlights, depicting the unique attributes of the players, tortuous synthesizer dances wrapped in complete fret board aggression. "19.59" really gets the lethal sonic arsenal rumbling in attack mode, a breezy groove that expresses all the lunacy of war, booming bass way upfront leading the charge. The machine-gun guitar solo is spellbinding, loudly assertive and quite lethal, Itier's drums pounding mercilessly. The vocals here are clear and emotive, a definite improvement on past and occasionally middling efforts. "Le Film de ma Vie" is like a musical diary/biography that searches out a varied atmosphere, perhaps closer to classic French progressive as it's loaded with the required theatrical dramatics staged on a simple arrangement, toning down temporarily the fire and bluster and replacing with a quasi-jazzy inspiration (thought I was listening to a Gallic version of Canterbury for a second!), with a short guitar motif, restrained bass, nice stick work and stunning vocal choir harmonics! Totally unexpected and genial! The 10 minute+ "L'Armée des Ombres" (Shadow Army) is a plunge back into the cordite-scented fire of armed conflict, reviled guitars crunching among the schizoid electronics. The e-piano plays the role of coloring the arrangement with some funky illusions of civility, even though the vocals convey an uncontrolled loss of reason and judgment, underpinned by some serious feeling of "malaise", almost gloom-like zeuhl! The streaming guitar missiles are launched into the skies with apparent disregard, a mournful piano discusses the desolation with a distant affectless guitar (another jazzy parfum!), as the structured solo increases in rage and scope. "Faux Semblants" (Fake reminders) concerns itself with that wonderful French literary attribute, by by evoking sarcasm via some extraordinary deft singing by Louveton, abetted by some more jazzy axe ornamentations. The mood gets snarly and nastier as the theme moves toward a finale that suggests some grandiose apotheosis. As good as all the previous material is, they pale in comparison with the mega 7 part epic that closes out this seminal recording, a mind-blowing sonic adventure that travels into the deepest confines of progdom. This 26 minute extravaganza will go down as a classic prog piece that we will all talk about, as a gorgeous guitar illuminates the track with an bluesy /Celtic almost Oldfieldian urgency, within washes of synthesized strings and a magical pied-piper flute (oh, that is nice indeed) leading the way. The sudden and rough Martin Barre-like theme is the groundwork for a swerve into prog heaven, blooming bass and devastating drums propelling this one unashamed, confidently cocky and elegantly aggressive. "Barbarians, we haven't learned anything from 20 centuries of history, spitting ruthlessly on their misery" kindles a deep philosophical insight especially within the rigid world-wide web of apathy and decay we all currently sit in, depressed economy and disheartened society! The playing here is top-notch, each musician clearly contributing to the experience, displaying a myriad of emotions that do not go undetected. Yes, there is bombast, there is subtlety and even humor within the desolation (the sincerely relaxed acoustic guitar section) followed by the return of the flute, a resolute revert back into the Tullian expanse. Fontaine unleashes a crystalline synth solo that freezes the frazzled listener into submission, as the lyrical venom is spewed with added fervor: a truly exceptional piece of music, incorporating all the values and the principles that make prog such a cerebral- physical exercise. The gentle piano excerpt only proves their sublime musicianship and the understanding that epic music must breathe as well as inspire. My good pal sinkadotentree will be blown away when he gets this CD washed up on his beachfront estate, deposited by the nuclear submarine commanded by Captain Nemo. Now can they only find Air France 447's black box! A modern day progressive masterpiece as expressed by so many already and almost Playstation artwork only adds to the irony. 5 brilliant barbarians.