NEBELNEST

What's to say about this band that I had discovered some 48 hours before seeing them in concert and that very same concert happened during one of those rare Blizzards in the Ardennes. Already warned by hearing the album only twice before the given concert, I was not all that well prepared to see/hear them live, especially having driven 260 Km to get there and back. The opening act No Name (from neighbouring Luxembourg being a no-show), Nebelnest took the stage much earlier than planned, but what a slap they gave the rare public that did show up that night. Actually they sounded very much like their debut album and served us a fairly basic lightshow with hand held slides about space and Maya or Aztec mythology, and it simply flattened us for the final count to ten.

Dense, dark and urgent, NeBeLNeST is a heavy French prog-rock outfit that throws all their influences into a giant cauldron and their music transpires from the simmering brew attacking our very senses, blending dark Crimsonian improvs (Asbury Park from the Live USA album is never far away), fiery drumming, flaming psychedelic guitar mastery, a Zeuhlian bass and underlined by Tejedor's keyboard layers. The voyages they invite us in wander through the Ozrickian galaxy, sometimes firing a laser beam into the RIO black hole. Yes, this spaceship is dedicated to sombre powers that can resembles some of those Aztec divinities necessitating renewed sacrifices that can only cost you neurones, fried by the burning progressive arrows that follow unexpected trajectories dictated by the constant rhythm explorations, outlined by a a very Present Trigaux piano.

Most of the tracks on this album are pure improvs (even if the crew only admit to three of them) and those that aren't, don't last long enough to avoid space jams, barely escaping RIO meteorites trajectories, sliding between Kraut debris, Kobaiain red stars and avant-prog supernova's explosions, but retaining some kind of impact of their obstacle course. Difficult to describe the tracks other than what I've done

In a way Nebelnest is the latest French version of Crimsonoïd prog after the different generations such as Shylock (late 70's), Xaal (late 80's and early 90's) and Quebec's Pangée (mid 90's). And as such, they are very much the better of these groups also and present a bright nebula for the future. Very much worth the investment, this debut album being the mandatory introduction passage to their Universe.

Angry hands that articulate fiery guitar riffs and solos and intrepid bass lines, keyboard textures and layers that seem to come from the guts of a desperate soul lost in limbo, and ultra-virile drumming that combines the frenzy of the darkest psychodelia and the classy touch of avant-garde jazz - these are the ingredients that make NeBeLNeST one of the most notable prog acts of our times. Their debut album stated the rules very clearly from day one: these guys not only are proficient musicians, but also intend to explore the darkest and harshest side of prog by following the path of KC (from both the delirious Red-era and their heavier current works), the spacey odysseys of Ozric Tentacles and the massive dissonances and anti-melodic deconstructions of RIO. There's also some free jazz challenges here and there, delivered in robust fashion. The material comprised in their eponymous debut album consists mostly on jam-oriented compositions, that is, not based on clearly crafted melody lines and harmonic elaborations, but on the sonic exploration of chord sequences headlong into climaxes, explosions, increasing amounts of visceral tension. The repertoire is immaculately even in quality and intensity, managing to keep the same level of tension, either inherently or explicitly. The fluid sequence of the first three tracks is an exhibition of sheer punch; other highlights are 'Etude de Shimshot' (really sinister, not unlike the roughest side of krautrock, although NeBeLNeST definitely has a feel more closely related to their old compatriots of the RIO movement than to krautrock) and 'Crab Nebula' (one of the best rhythm section's performances is contained in this one). Anyway, allow me to remind you something I stated before: there's no waste material in this repertoire. Even 'Solilock', which is perhaps the least complex number in the album, portrays an amazingly exciting flavour of darkness and gloomy intensity, with those oppressive mellotron layers and those flaming lead guitar phrases. 'Absinthe' is mostly the result of the joining of two different jams: this is when the quartet somewhat diminishes its usual display of sonic power... until the mandatory climax appears in order to provide a shocking end. Or so it seemed until a solemn piano coda brought the start of the real ending, which consists of a Present-esque languid sequence, creepy, albeit not too overwhelming. NeBeLNeST is my favourite French prog band nowadays (a sort of Shylock-meets-Present with an increased sense of energy and a more solidly contemporary attitude), and this album is a hell of a place to start with them.

Dark, brooding and ominous instrumental prog from France , severely disturbing the senses with oblique arrangements, slurping bass, shrieking guitar ornamentations, hissing synths gone haywire and swaths of mellotron adding only to the maelstrom. This is how the improvisational "Pooks Part1" opens the ball! My goodness, what sonic savagery do we have here? "Shafoo" refines the brutality a bit, providing a leaner platform for the growling Gregory Tejedor bass to propel the music inexorably forward merging with the drenching megatron working its usual magical charm, manned by his brother Olivier. Axeman Cyril Malderez flings some brisk sonic perversions that clearly suggest various forms of manic insanity, Frippoid revolutions dancing over his 6 strings. The demented fuzz organ solo will woo the Canterbury crowd with its devious connotations. "Nahja" segues nicely into more introspective zones, playing the classic King Crimson Red period card, where apparent calm can explode into sudden seductive frenzy. Drummer extraordinaire Michel Anselmi certainly can bang, rattle and pummel with the best of them, as he eggs on the matador spirit in both Gregory and Olivier's playing. The seedy guitar foray is invigorating and rages scornfully, while the others follow with glee. The colossal "Etude de Shimshot" is a prime example of their experimental folly, a 9 minute binge loaded with spirited initial sonics (astounding sounds, weird effects, remindful of a War of the Worlds sci-fi movie), far from any kind of commercial or popular banner waving, with Anselmi leading them again into a flurry of jamming prowess, as all members rage in apparent unison. The keyboard/guitar dissonance is nevertheless held together by the exceptionally tight rhythm section, colliding the senses with organizational confusion (hence the correct RIO and Krautrock allusions by other PA reviewers). What is this, space, jam, groove, heavy or symph? Really they are an amalgamation of all kinds of prog genres, thus relaying the reputations of past glory boys such as Shylock, Arachnoid, Gong and Hawkwind. "Uncertain Journey" is listed as another improv, very much in the Crimsoid tradition (the brilliant "We'll Let You Know" as well as all the live explorations as heard on the amazing KC "The Great Deceiver" 4CD set) with Anselmi doing his best Bill Bruford imitation (no mean feat!) and some serious knob persecution on the assorted devices (sax, trumpet and brass samples, I presume) by Olivier Tejedor. The humorously titled "Sollilock" is more controlled, slightly upbeat and even jazzy in a Soft Machinesque sort of spirit, groovy bass melding with hairy keyboard roamings, while the guitar circles overhead like a ravenous buzzard, pecking and picking at the bones. The next one is another 9 minute "audio-gymnastics" display, vividly conveying the lethal pleasure of "Absinthe", that still forbidden elixir/drug that likes to trick the mind. The nuclear bass is almost verging on zeuhl, a definite Paga/Top vibe, as it spins in various controlled directions, a bobbing beacon that sets an incredible platform for the menacing soloists to hallucinate on, the fret board getting a resounding beating in particular. Beastly classic track, I say! A gentle piano mid section only further confounds the issue and upends the flow. "Crab Nebula" is also the inspiration for the spooky cover art, a sinuous steamroller that insidiously creeps into the furthest realms of the audio-brain, almost "prog-space-punk", as the rhythm is quite simple yet angry, in a way. This is definitely more in tune with the harsher, no quarter given elements in music: insistent, hypnotic, bold and devastating with tremendous skill expressed by the "quatuor". "Pooks Part 2" bookends this masterful debut, with some more improvisational mayhem, a glimpse into what these boys can do on a stage, and if so, look out for the smoke and the fire! Nasty, nearly gruesome, often weird but ultimately very satisfying, this French band will go places. Ca chauffe! 4.5 cloudy aeries.

4.5 stars. I've been a big fan of this French band ever since I heard "Nova Express".They play a dark, heavy and at times experimental brand of music that recalls KING CRIMSON. And with the abundance of mellotron added to the formula I can't help but think of ANEKDOTEN and GUAPO. I still think "Nova Express" is their best followed by this their debut then "Zepto".

"Improv : Pooks Part 1" opens with faint sounds that build. We get some angular guitar and experimental sounds but check out the bass after 2 minutes. "Shafoo" opens with mellotron then a beat comes in followed by angular guitar and a full sound. The bass is huge and like the drumming. It turns spacey around 3 minutes. It's dark and intense. The bass returns with drums and guitar around 5 1/2 minutes. Great section. "Najha" opens with mellotron before drums, bass and guitar join in. Some organ later. It's pretty intense around 4 1/2 minutes as the drums pound. It picks up a minute later and the guitar starts to rip it up. "Etude De Shimshot" is fairly quiet to open as mellotron and other sounds bubble under the surface. Angular guitar comes into this haunting setting. We get a change after 2 1/2 minutes as the drums come in. A full sound follows. Nice bass here. It settles 5 1/2 minutes in then builds. It's a powerful soundscape 8 1/2 minutes in before settling late.

"Improv : Uncertain Journey" opens with experimetal sounds and cymbals. Eventually drums and bass join in followed by the guitar making some noise. "Solilock" is a favourite of mine. It just sounds so incredible, and I guess I feel that way because this really reminds me of ANEKDOTEN with the mellotron and heaviness. It does settle some later as the guitar starts to solo. Nice. "Absinthe" is laid back early but it's dark with some bottom end. Mellotron joins in and the tempo picks up. The guitar follows. A calm 4 minutes in before it kicks back in with fat bass lines and mellotron. The guitar comes in on fire. A calm 7 minutes in with piano before the guitar and drums return. Amazing tune. "Crab Nebula" opens with piano, bass and drums. Angular guitar before a minute then mellotron. A great sounding track. The tempo picks up 5 1/2 minutes in. "Improv : Pooks Part 2" is spacey to open as outbursts of power come and go. Drums before 2 minutes as the guitar makes some noise. Mellotron 3 1/2 minutes in. Still no melody here. An experimental piece.

Man this is so close to 5 stars for me. Just love this style of music.

Nebelnest's debut is a King Crimson dream come true. Even the song titles seem to have run away from King Crimson albums.

Nebelnest is a French modern prog bands that takes the dense darkness of Magma and adds towering Crimsonite riffs and dissonant harmonisation. They operate in the RIO section of PA but next to the notable avant-garde elements, they sure rock as wild and gripping as Crimson does.

The band keeps things entirely instrumental, laying down a heavy rhythm section with drilling bass guitar and the type of jazz-rock influenced drumming that brings back the energy and dynamism of Bill Bruford. Organs, mellotrons and guitars provide for the melodic leads, often using dissonance and weird tonalities. Not one track is less then stellar. The band is sure inspired on each of these improvisations, going fluently from uncanny spacey atmospheres to furious intensity and everything inbetween.

Kudos to Sinkadotentree for recommending this band to me and particularly for introducing me to this album. A golden tip! Highly recommended for fans of '74 King Crimson, early Anekdoten, Guapo and Magma's instrumental side.

Sad to say, not super available digitally... This is the self-titled debut by this French Avant-Prog band. I mean, personally I love the quirky capitalization choices: NeBeLNeST. The potential influence of Zeuhl has been mentioned and I find that to be incredibly apparent.

On our opening track, "Improv: Pooks (I. Part One)" we have a jazzy ethereal drive. Full speed ahead! The keys are spacy and strange and dissonant, in part, but the most notable piece is the drums... "Psykial Trysm (I. Shafoo)" is our next track. Just as forward-driving, the sonic choices of the guitar are so tasty, I can't even tell you. In its midsection, much falls away. It is so spacy to a creepy degree [You'll be hearing this sentiment quite a bit here]. I can't but help to think it's utterly film-ready. This section lasts clear from the middle until the final minute. We are then back in fullness. The keyboards!!! Wow. Nice organ sound, reminiscent in the end of Soft Machine's Mike Ratledge. Then we have "Psykial Trysm (II. Nahja)"... The synth tone eerily floats downward and then begins to fluctuate back up and back down as the rest of the band enters in. Very psychedelic this'n. Around minute 2 there is a slight rhythmic shift. It really does sound like Soft Machine here to me. Then the drums pick the beat up rapidly. The lead guitar takes us into an Eastern sound modally. A different kind of dynamic than the two before.

The first of our two 9-minute mini-epics, "Etude De Shimshot" is eerie and wavering in its frontend. The hovering, piercing guitar sounds a bit like Fripp. The Avant is in fuller effect here. It just feels like a really nice mix of progressive idioms (from Jazz-Prog to Avant-Rock to Zeuhl to Space Rock). The whole of the song is a play on what appears to be a singular theme, driven throughout by the ever beefy bass. then we have "Improv: Uncertain Journey". I love whatever effect they have on the guitar here in the start. Reminds me of Tera Melos' Nick Reinhart! It takes about two minutes to really get into things. The keys morph in and out with the guitar. A lot of talent. A lot of understanding in their respective mediums. More Eastern-sounding vibes here. Up next, "Solilock" comes with drumming that reminds me of Bruford (I just saw a clip that Bill uploaded online from Rock Goes To College haha). This song features a great theme, played on the keys. They are just goin' on this one; a slight cacophony toward the end. A sure highlight!

Then we have our second sort of mini-epic, "Absinthe", a lower, slower number with rolling bass, more of those wide open organs from before. This song does call more Zeuhl to mind. Only in the best ways. The rhythm just drives the songs forward, as drums are bashed and all else is to match. All falls away to an eerie synth padding with light acoustic guitars. The instrumentation enters in full with some mellotron and more lead guitar. The Ratledge-esque organ continues then in a wild fashion to match the rapidly plucked guitar. The song's final moments sonically lower down, continuing on with a different groove. The dissonance returns. And I'm thankful for that. Next, "Crab Nebula", the actual nebula appearing on the front cover, starts queer yet cleanly played. Fitting for a band so into the spacy and ethereal. This track has an awesome beat, too. Have I mentioned how much I love all of the instrumentation. What I'm loving here, as I approach the end, is just how damn consistent this album has been. The low points are all still quite good. A ton of talent and compositional knack to be found here. Finally, we have "Improv: Pooks (II. Part Two)". This beginning is something... Very creepy in the synth department, the rhythm section slams on the... purportedly proper times. This is followed by some jazzy drumming over some absolutely wild Avant-Jazz. I love the keyboards; sounds like a little electric saxophone haha. When this song is on, it is on. "Improv" sounds right. Just feels like a jam. And with that, it's a tad less focused, but still good.

And with that... That's it! Great album!