ECLAT II

Eclat's second album is designed on the patterns of sensitive beauty, stylish instrumental interplays, and versatility, all of these comprised in a combined realm of neo-prog, jazz- pop, ethnic and folk stuff. Elegance is the name of the game played all throughout the repertoire in 'Eclat II'. The notable virtuoso skills of guitarist Alain Chiarazzo (also, the main writer) come to the fore over and over again, finding a perfect compatibility with the rhythm section and the inventive textures and occasional solos elaborated by keyboardist Pascal Versini. All in all, the exhibition of the performer's skills never reaches the point of sheer pyrotechnics: the melodic lines and harmonics are always clear to the listener's ears. Eclat's music comes out as very reminiscent of Minimum Vital , early Edhels, and 80s Camel. The exotic stuff that appears now and then keeps Eclat flirting with the usual nuances of new age. 'Le Chemin vers les Normes', 'Cinq-Quart' and 'Opera Magique' are the most accurate examples of Eclat's modern symphonic facet. 'Circus' brings the same vibe, yet enriched by its circus-like colours, which make it related to the typical gypsy celebratory spirit. 'Vitrol' and 'Tau' are more accessible, quite poppish actually, but not dispensable: they show a more relaxed mood in Eclat's music. 'Se Tu An Tan' takes us back to the times of Early Renaissance troubadours; 'Page Orientale' is a musical portrait of Eastern landscapes; 'Le Moissoneur' is a tour-de-force between an acoustic and an electric guitar, performed by Chiarazzo at his finest - an interesting mix of Hackettian sensibility and Fripp's inscrutable fire. While not being essential in itself, 'Eclat II' has its own merits, which make it a good addition in any prog collection.