EAU | FEU

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 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.