ODDLEAF

by Dean Wolfe of prog dog media (

This has been a go-to CD for me... for months now.

If I had done a 2024's Best Albums of the Year List, Oddleaf would likely have topped it. Although there's no shortage of fresh new progrock hitting hot wax.

Oddleaf are likely inspired by some of the classic 70s prog rock bands- one in particular they do remind me of is the great female-singer led Rennaissance- and Oddleaf's lead vocalist Adeline Gurtner is on par with Annie Haslam in presence and substance.

This band has created prog rock epics without need to resort to modern prog metal vibes. The flute figures large in many parts of the album and transports me to the dense forests of Tolkien's Middle Earth at times, or the Dark Ages.

There is no lack of bass on the album- it is unmistakably present and integral to the band's sound- Olivier Orlando often (maybe always) picks the bass with a treble-inducing plectrum.

And did I mention the drummer? Highly energetic, sophisticated- but not sounding too 'technical'- Clément Cureaudau is playing in cool time 'sigs' all the time, but he's sneaky about it, makes it sound natural and easy- sort of like Yes' Alan White and less like Rush's Neil Peart.

Complexity abounds on this debut album "Where Ideal and Denial Collide" yet it manages to remain subtle. The production is balanced- not overly processed - very cohesive- clean-- it all sits perfectly - which is I think due in part to the band's skills of self-editing. There aren't 'too many notes' or too many instruments. All of Oddleaf's musical elements intertwine without clashing or competing- actually a remarkable feat. I liken it to watching a busy intersection in Vietnam that has no stoplights yet everyone manages to flow through without incident- it's mesmerizing.

Did I mention the keyboards? Lots of accomplished playing- great rock organ solos by main composer Carina Taurer...some great piano sections and cool Tony Banks and Keith Emerson-ish playful escapades. I need to check if she's won any awards yet- she sounds like a giant in the making. Lots of fantastic sections.

I'm a guitarist, so I noticed there is only a scattering of electric guitar across the album...several solos, but the album doesn't feel lacking in any way.

The 'Oddleaf' sound has been confidently nailed. Regardless of any comparisons made here, Oddleaf have their own unique sound.

The album opener- and closer- are epic and grandiose- graceful and hearkening to the days when an album was an album - capturing the entire album's vibe- which is often one of optimism. The lyrics throughout are cleverly woven at times reminding us to honour the planet, but also reassuring us that no matter what 'the Earth's core will remain warm'. 'Bring me back to a simple time..' Gurtner sings.

The songwriting is adventurous but mature- the music unfolds gracefully, effortlessly. A remarkable first effort by any standard. Strong melodies are spread throughout, haunting at times, surprisingly wide in scope. The album's tracks are often tied together, sometimes with windy desert sounds, and the album finishes off with what sounds like a whale swimming off into the distance, singing 'goodbye' and leaving the listener in a state of peaceful longing.

The latter part of the album departs a little bit from the tone it began with - a little less heavy-hitting on 'song'-ness, and is more experimental and noodle-y- perhaps hinting already that Oddleaf is not content without a little boundary- pushing playfulness.

The backup vocals are also noteworthy- tasteful and distinct. Everyone except the drummer is noted to have added their voices- which creates more distinction in the Oddleaf sound.

The flute work by Mathieu Rossi is refreshing. It's such an earthy and uplifting instrument- and is another link to a musical past of simpler ages (It reminds me more of Peter Gabriel with Genesis than Jethro Tull- but I don't know Tull too well yet. Others can chime in on the comparison).

I could go on, but let's leave it there. My score is 5 bones out of 5- partly because they just appeared out of nowhere with a super fresh unique sound. It's a spectacular album- full of nuance and well-thought-through passages and interludes, with both a serious and a fun-side without the slightest air of pretension or even ambition to be anything but a young band with a vision . Thank-you, Oddleaf.

ODDLEAF are a five piece band out of France and the girls rule here. We get a female vocalist and keyboardist, and the latter composed all the music. This band had been playing medieval music over the last decade or so when their male vocalist left. That brought on a change in direction, and honestly I'm always sceptical of bands from outside our style of music deciding to make a prog album. Sometimes it comes across as a paint by numbers thing, like that Todd Rundgren album. No fear of that here as this is all very well done.

This is a concept or themed album about planet Earth. The cover art is spectacular, especially opening the gate fold and expanding that picture. Nice. By the way Jacob Holm-Lupo mastered this record. Some will know Jacob from WHITE WILLOW and the many other bands he's involved with. We get six tracks worth over 48 minutes. I don't like that the guitarist is also the bass player. Only once did I feel that the bass stood out and that was on "Back In Time", but I'm sure there must be others. We also get a flautist and while some mention CAMEL in regards to their sound, I missed that myself.

For me it's MAGENTA that I kept thinking of. There's some long pieces on here like "Life" at 11 1/2 minutes. I like the pulsating organ on this one, especially before 5 minutes. Piano, flute and vocals standout as well. "Back In Time" is 14 1/2 minutes and the longest. There's some narration on here. Some ripping organ. Is that clavinet before 13 minutes? I like the drumming late.

The closer "Coexistence-Part !" is 11 1/2 minutes long and a great way to end it. A real nice start with the floating organ and lead guitar as drums pound. Dreamy is the word between 4 and 6 minutes. I like the sounds of water and whales to end it. Meaningful. The 8 minute "Ethreal Melodies" might be my favourite though. Majestic sounding and a guitar solo late which is replaced by synths as it settles.

A real nice album that is for fans of Symphonic music in the realm of MAGENTA and RENAISSANCE. Not my cup of tea but a worthy debut.

Probably the best album of 2024

Oddleaf's debut album "Where ideal and denial collide" is an impressive and captivating journey through symphonic progressive rock. This French group has truly succeeded in creating a work that both honors the classics and embraces the modern. With influences from legendary bands like Yes, Genesis, and Museo Rosenback, as well as newer bands like Magenta, Wobbler, and Rubber Tea, Oddleaf offers a rich soundscape that is hard to resist.

The band plays with such an effortless and natural style that is rarely heard in new bands. They perform a diversified symphonic rock that is both beautiful and hard-hitting, as well as complex. They move between pastoral beauty and heavy riffs with such ease. Perhaps it's just me, but the music strongly reminds me of Italian progressive rock with its keyboard-driven style, complexity, melodies, and ability to evoke new emotions in an instant.

They have also managed to write a number of songs that create a cohesive harmony on the album, despite each song having its own character and standing on its own. The singer's voice is fantastic and fits perfectly into the music; she has a wonderful ability to sing with both feeling and passion.

I am deeply impressed and have been playing this album constantly since I bought it, and there is nothing to suggest that this will change. I would be extremely surprised if, in a few years, I still do not consider this the best album of the year, in tough competition with Ritual and Beardfish. A debut that I hope everyone takes the time to listen to.

Impressive debut album from this French progressive rock band featuring a symphonic prog style that mixes elements of classic 70's prog (Camel, Yes, Genesis, Renaissance) with a modern prog aesthetic (Big Big Train, Wobbler). Keyboard-driven songs (from composer-keyboardist Carina Taurer) highlighted with flute (Mathieu Rossi), exquisite lead female vocals from Adeline Gurtner, and nice multi-part harmonies form the core of the band's sound. Equally comfortable and proficient with the vocal and instrumental sections of the tracks (and closing the album with a wonderful 11 minute instrumental), the album soars with great melodies and wonderful instrumental solos and passages. A great new contribution for any fan of Symphonic prog that combines the best from old and new styles to create some all new classics. Best Tracks: Back in Time, Ethereal melodies, Coexistence-Part 1, Life. Rating: 4

A French ensemble who've risen out of a former incarnation as makers of mediæval music, the band's debut album is raking up the accolades from virtually everyone who encounters it.

1. "The Eternal Tree" (2:06) (4.375/5) 2. "Life" (11:31) a murky-sounding song that feels far too simplistic and predictable to possibly be receiving the attention it's been getting. The CAMEL-like bluesy passage starting at 6:10 is almost laughable for its predictability. Adeline Gurtner's lead vocals are weak and so poorly recorded and Olivier, Carina, and Mathieu's background support are just as poor. (17.125/20)

3. "Ethereal Melodies" (7:55) though sounding a lot like the previous song (chords, keys, sound palette, main melody) the band's previous incarnation as medievalists is able to shine through due to the quieter, less bombastic soundscape. Still, I can't fight the domineering feeling that I'm listening to a 2.0 cover band version of one of the older Prog Folk masters (Renaissance, Magenta, Mostly Autumn, Iona) (13.125/15)

4. "Back in Time" (14:24) Adeline and the band's best early Christina Booth/Magenta imitation (which makes them an imitator of Annie Haslem/Renaissance, right?). Mathieu Rossi's e-flute play and Carina's Hammond are quite top notch, even exciting and inspired, but Adeline's Christina Booth-like vocal performance sounds too much like the often-tired-sounding singer she sounds so much like. Too bad she wasn't given some of the theatric voice-acting roles the boys and instruments were given. I like the entertaining circus-like theatrics and more impressive display of instrumental skill and whole-band cohesion. (26.5/30)

5. "Prelude" (1:04) a successful exercise in Vangelism. (4.5/5) 6. "Coexistence - Part I" (11:20) a multi-part instrumental suite that is really just rather bombastic NeoProg--complete with Genesis rhythm tracks, a Pendragon-like environmental theme, and lush IQ instrumental palette. The construction is solid with the flow believable and engaging. The instrumental performances are solid and sometimes almost refreshingly unique (some really nice woodland folk weaves in the fifth and sixth minutes). (I don't really like the DAAL-like passage in seventh and eighth minutes.) The mix of the instrumental palette is pretty decent. Too bad the sound quality is so murky poor. (17.5/20)

Comparisons to Renaissance, Magenta, Mostly Autumn, and Iona are warranted, but only in terms of imitation. The sound quality, however, never reaches the high levels of quality mastered by these other bands; in fact, its the murky sound (and rather rudimentary, by-the-numbers prog) that turn me sour on this music. I really wanted to like this album--the preceding reviews were all very exciting--but my hopes are totally and completely deflated by the product I'm listening to. They have talent: and vision--but they need to grow a lot in the skills department and, moreso, in the sound engineering department. Still, the album does get better both over time (with repeated listens) and the deeper into the album one goes. (My expectations are now adjusted: prepared for the low sound quality (which reminds me of the horribly murky and overly-expansive soundscapes Cornwall-based band of Scots, THE EMERALD DAWN seem fixated on) as well as the inconsistent skill display and often too-imitative compositional quality.

Total Time: 55:55

B-/3.5 stars; a debut album whose inconsistent qualities will, hopefully, improve as the band matures. It is my hope that the band find better studio and engineers and concentrate more on the Prog Folk elements of their music rather than the bombastic NeoProg.

Growing up, I loved bands like Yes, Genesis and Kansas. More recently, I have discovered other great keyboard- centric progressive rock bands like Glass Hammer and Magenta. I'm thrilled to now add Oddleaf to this select list of elite bands.

Carina Taurer's compositions and keyboard playing are exceptional. Mathieu Rossi is a great flute player, although I wouldn't mind hearing more real flute and less e-flute. The instrumental flute and keyboard section on "Back In Time" is my favorite moment on the album. It should have lasted MUCH longer. Drums, bass and vocals are solid.

Carina's compositional superpower is constantly shifting time signatures within each song. 6/8, 7/8, 11/8, they are all there. The band is tight, and up to the challenge. Consistently good throughout. Easily my favorite album of 2024.

If you enjoy classic-era symphonic prog rock, but with a modern touch, then the wonderful debut release from the French progressive rock project Oddleaf is highly recommended. Where Ideal and Denial Collide is a compelling album full of epic, richly layered, sumptuous and dream-like compositions that mix the timeless prog of Yes, Camel, Genesis, Renaissance and King Crimson, with more contemporary influences such as Wobbler, Agusa, White Willow, Mostly Autumn, Monarch Trail and Big Big Train. The use of vintage keyboards, such as the Mellotron and Hammond organ, defines the lush and luminous musical soundscapes, but the inclusion of electronic and acoustic flute, four-part vocal harmonies and expressive female vocals in English, add a pastoral beauty and depth that draws you into the music effortlessly. The band started in 2020, with Carina Taurer (keyboards) and Matthieu Rossi (flutes) moving on from their early/medieval classical music and developing more progressive rock-orientated compositions. Joined in 2021 by Olivier Orlando (guitar and bass) and Clement Curaudeau (drums), the final piece of the jigsaw was completed with Adeline Gurtner, replacing the original vocalist Olivier Marcaud in 2023 ' accentuating the more feminine aspect of the band's music. Where Ideal and Denial Collide represents the culmination of four years of hard work and is a truly wonderful symphonic prog rock album. There is a cohesiveness to the album, with each track musically and lyrically connected by ecological and humanistic themes ' celebrating the majesty of nature, whilst questioning humanities place within it. Even the impressive CD artwork is a link to several songs on the album.

The Eternal Tree is the short opening instrumental, full of atmosphere and darkly dreamy instrumentation. Carina's repeating piano pattern is steadily built upon by deep keyboard chords and then some swirling synths over an insistent beat, with flute notes and a subtle folk-like character developing. It is a well-pitched, cinematic introduction into the music to come, and flows into the first of several extended epics on the album. Life begins with ethereal vocal harmonies mingling with some lovely keyboards, while Olivier's deep bass and Clement's drums push the music through to Adeline's lovely and warm lead vocals, which float smoothly above the dense instrumentation. The intelligent, poetic lyrics conjure up the birth of planet Earth and its development over 4 billion years, along with Mother Nature's endless cycles of growth and renewal, despite the efforts of mankind to disrupt it. 'Precious life, endless birth, This is our Mother Earth, Water, air, desert, snow, Let's fight for her, because'' Musically, it ebbs and flows, with dreamy and delicate passages transitioning into complex, intricate and chaotic sections with retro stabs of Hammond organ, as the bass and drums power through. The sound of water and birdsong are joined by Mathieu's pastoral flute, with piano and vocals then taking the track to a satisfying and thoughtful conclusion, as the winds of time blow.

Ethereal Melodies is a lovely folk-drenched slab of melodic prog, with some initial acoustic guitar and infectious, madrigal-like flute providing a soothing rustic feel to it all, which reminds me at times of the Swedish band, Agusa. Adeline's singing almost has a feel of Magenta's Christina Booth at times and the backing vocals, keyboard wash and piano support her so well. The evocative lyrics, written by Mathieu, seemingly transport us deep into ancient woods and the journey from a seed deep in the ground to the splendour of a fully grown tree. However, the tree is an allegory for the world, representing humanity. Carina tells me that the leaves, twigs and branches represent individuals or groups of individuals in society, and the golden or 'odd' leaves (hence the band name) represent those who try to open the eyes of others to the hope of change, unity, coexistence, respect for nature and the desire for renewal in our society. 'Ethereal Melodies, From millions of my leaves, Are spreading hope and peace. The only way for me, Guardian of the prophecy, For I'm the eternal tree.' It is a revolutionary, but peaceful message, delivered within a wonderfully accessible slice of symphonic prog, and a good choice for the album's promotional single. The uplifting guitar solo from Oliver towards the end provides a lovely focus to the music before the synths take us through to a contemplative and serene conclusion. A slightly shorter, clip edit of the track is also available on the album download.

The longest epic on the album is the melancholic and multi-faceted Back In Time. Composed back in 2021 during the pandemic lockdown period, the lyrics follow a woman looking back nostalgically at the past, childhood, family and the simplicity of life, in sharp contrast to the fear and isolation of her present life. The music accompanies the story well, starting with emotive and atmospheric keyboards and vocal harmonies over poignant flute lines, before slightly disturbing piano notes and a rhythmic build-up set up Adeline's longing vocals begin. 'Bring me back in time, Take me through the tunnel of life. Bring me back all this colours of a long gone past. Bring me back to a simple life, Please take me back in time.' There is a breezy, jazz-like interlude with flute and Hammond organ sounding a touch like Focus to these ears, before a return to the reflective main theme. The spoken, questioning words of Dan Curtis, enhance the unsettling feeling building up, with the instrumentation switching from intricate and complex, to a slower, more plaintive ambience. Sadly, the woman's journey into the past has seen her slowly sink into madness, and the yearning sadness of the closing vocals is in sharp contrast with the frenzied mix of off-kilter flute, edgy keyboards and manic laughter, signalling her mind's fall into the abyss.

Prelude is a short, synthesized introduction to the closing track of the album, the instrumental Coexistence ' Part 1. This is a track that will delight any fan of classic keyboard-led symphonic prog rock. Carina's superb keyboard skills really dazzle and shine, as do Olivier's bursts of resonating electric guitar. The musical template twists and turns, with Cl'ment's busy drums keeping everything pushing forward. More Hammond organ to savour before a change in tempo, and Mellotron, soaring flute and acoustic guitar provide a period of relative calm. However, the music then takes on a dark, heavy intensity with echoes of both King Crimson and Yes, majestically climbing higher to a wonderfully proggy crescendo (I'd liken it to Red/One More Red Nightmare meets The Gates of Delirium/Starship Trooper) before it finishes in a dark, echoey and surreal soundscape. Like so much on the album, there is just so much going on, it is impossible to describe adequately in just a few lines. I can't wait for Part 2!

I am genuinely excited and pleasantly surprised by this new French progressive rock band. Oddleaf are not necessarily breaking new ground with their debut album, Where Idea and Denial Collide. However, their unique take on symphonic prog rock ' mixing retro with modern, adding pastoral elements and delivering intelligent, articulate and thoughtful lyrics and themes, has produced music that is an absolute joy to listen to. The surprise package of the year for me, for sure ' this is not an album for prog rock fans to miss out on. Highly recommended!

Album review from ProgRadar

Originally written for theprogmind.com

9/10

I get overly excited when I find a new band that really jives with me. I was contacted about the debut Oddleaf album recently, and I have fallen head over heels for this record. It's called Where Ideal and Denial Collide, and it releases October 11th.

Oddleaf hail from France. I was taken immediately by their fantastic cover art and overall sense of production value, which often isn't the case with debut albums. The lineup here is Carina Taurer on composition, keys, and backing vocals; Adeline Gurtner on vocals; Olivier Orlando on bass and guitar; Mathieu Rossi on flute; and Clément Curaudeau on drums.

Here's why I like this band so much. They have something of a retro progressive rock sound, but instead of sounding like Yes or Genesis, they take inspiration from some of the unsung heroes of the genre, such as Renaissance and Camel. Their music is, I daresay, a witchy and folk-leaning style of prog rock with hints of Big Big Train's pastoral side, while also sounding quite infectious and dark along the lines of Mostly Autumn and early White Willow.

There's just something about the mysterious shadows at play in this album that grabs hold of me. I love how bright and crystal-clear the vocals are, and how some songs come off as quirky, interesting, and even a bit strange. You will hear lots of flute, which is a major highlight for me, plus Mellotron and Hammond organ.

It isn't just these nostalgic sounds that make their music great. The songwriting is simply superb and whimsical in all the best ways. Honestly, if I were to compare them to a modern band, it would be Cuba's Anima Mundi. In fact, Carina's keyboard style has all the same flare and drama of Virginia Peraza's, who happens to be one of my favorite keyboardists. The music, then, is mystical, colorful, and imaginative, and the songwriting really sells those aspects.

The album is around 47 minutes long, but it feels shorter, honestly. This album flows by in such character and atmosphere that you'll want to put it on again immediately. There are six tracks, two of which are instrumental and transitional in style, but they are incredibly effective. The opener "The Eternal Tree" is only 2 minutes long, but in those precious seconds, we are introduced to the wonder and whimsy of the band, and also a sense of anticipation and cinema. It's amazing.

The next song is "Life", a piece with potent synth at its core, and with plenty of flute and keyboard madness to satisfy any prog head. I love how it transitions between delicate, ambient portions and fabulous chaos. The single comes next, called "Ethereal Melodies", and it is an instant favorite. The vocal lines are incredibly warm and infectious, evoking Karen Carpenter at times, and the excellent guitar solo near the end really gets things moving.

The second half of the album is even better. "Back in Time" is a 14-minute monster with some fantastic instrumental portions and even some funky grooves that always put a smile on my face. I should note that the flute performance on this song is particularly amazing. "Prelude" is next, being a one-minute piece that is basically synth ambience, and I love the aura it brings. The closer "Coexistence, Part 1" is probably my favorite on the album. This piece is about 11 minutes long, and it packs in so many shadows and mysteries into that runtime. I love the piano and the bold, intense synth work in the second part (really reminding me of Anima Mundi). The song, like the album, has constant celestial qualities that are truly beautiful.

Oddleaf should make a big splash with their debut, if there is any justice in the world. Where Ideal and Denial Collide is staggeringly gorgeous at times and quirky and nostalgic in others; it feels masterfully sewn together with excellent lyrics and introspective melodies. Their inspirations are many, but their sound is their own, and I think this first offering will prove to be memorable for me.

ODDLEAF group founded in 2020 coming out of nowhere, sounds on YES, GENESIS, KING CRIMSON, CAMEL or even RENAISSANCE for the older ones, WOBBLER and MOSTLY AUTUMN for the younger ones.

"The Eternal Tree" latent piano-synth-mellotron intro, solemn, atmospheric rise, it announces heavy; a bit of medieval like in the old days when the intro brought you to the musical space, a flute in the distance. To make you shiver and stop your ear on it for cinematic prog blood bringing "Life" with the organ and the invasive vocal, a bit of AMBEON for your information, suave childish voice for a creamy harmony. Adeline juggles between softness and energy, slipping on the fat, velvety organ, the one from the time when we took our time, on that of Francis DECAMPS from the 70s, on the famous Charly OLEG who will show that the Hammond can be played on TV at prime time. The keyboard variation starts with an enchanting amalgam of musical colors, the flute worthy of an elven episode of the Lord of the Rings tempering the climate and bringing it with this warbling to a classical space. Everything is well fitted together to go from tender to emotion, from energy to sensuality, but this keyboard makes you think about this first opus of a group that came from nowhere. "Ethereal Melodies" follows, flute, melody of yesteryear, the neo-classical-medieval air making itself felt; Adeline makes the air vibrate, the keyboard always bucolic and vintage, the rise on an exhilarating folk trend with symphonic touches. A forward voice that dares to sing clearly in English launching a really well-made guitar solo by Olivier, high, fruity, airy, progressive; in short for the moment it's heavy.

"Back in Time" attacks the longest title, posed, an atmospheric-medieval variation on the bewitching voice of the CORRS, the tullian flute and the analog organ for the moment regression. AGUSA is the group that comes to mind; uptempo piano break to set the fire, but it doesn't take there, it's too soft, too folk, too predictable. The medieval air fortunately takes over, the synths look at those of the MINIMUM VITAL; the fairy flute with this shared feeling of the long title and the final rise of Carina's keyboards. The flute of JETHRO TULL refers to the progressive, vintage and logical madness with a last intoxicating funky solo. Note the voice-over of Dan CURTIS, in short a little flute good, too much flute kills the flute. "Prelude" as its name indicates, laughing seagulls, wavelets and magic keyboard, very beautiful shivering atmosphere leading to "Coexistence - Part I" for the slap; at the beginning it smells of jazz, but really a trait, then we embark on a progressive symphony where the Hammond reminds me of the one played by ANIMA MUNDI, on their 'Insomnia', in short 4 grandiloquent minutes. The flute break takes up the soporific side, the piano drives the point home, the sax synth with KING CRIMSON sauce sweeps this feeling away with a musical reverse, the organ worthy of a GENESIS from the 80s then worthy of an ODDLEAF with a technician decked out in the person of Carina. The final rise between the synth flights and the borderline heavy soft guitar that amplifies the modern sound of this final piece with the enjoyable megaptère cinematic. "Ethereal Melodies (Clip Edit)" as an almost useless bonus except to add that the guitar solo made me think for a moment of that of the EAGLES on their planetary hit, a sign?

ODDLEAF group that dares to offer prog rock from the 70s revisited in the 2020 decade. Originally on Profilprog.

Oddleaf's first album is a delight, a dream come true, powerful and surprising. It shines with the color of love; the love of nature and a symphonic progressive rock at its highest level, that of Yes, Big Big Train, Camel and Wobbler, freely crossing the ages, timeless because immortal. It is the changing colour of a shining prism, which these five French young musicians have put on their adornment to offer us a dazzling record of maturity. Where Ideal and Denial Collide is a successful work that intelligently pushes us to surrender body and soul to the infinite and dreamy joy of its listening, if possible in a relaxing setting, with eyes closed in order to grasp all the subtleties. This is how it can reveal its secrets and invite you to discover its mystery. We can only bow to the perfection of the work done by the band that produces here his first album and by the still talented Jacob Holm-Lupo (White Willow, The Opium Cartel) who mastered it. From «The Eternal Tree» (2:05), beautiful instrumental introduction developing a brief musical theme to illuminate the night that darkens our soul, we are caught in a grandiose work, true inner journey from which one can not come out unchanged. "Life" (11:31) is a true call from the majestic nature, an ode illustrated by a festival of vintage keyboards (Mellotron, Hammond organ, piano), masterfully played by the virtuoso Carina Taurer, carried by a diabolical rhythmic, and magnified by the warm, gentle and powerful singing of Adeline Gurtner. The incandescent melody is softened by the volutes of a transverse flute or illuminated by the crazy arabesques that Mathieu Rossi produces with his EWI, a new model of this instrument that gives to Oddleaf's music an innovative, almost revolutionary dimension, while evoking at times the vibrant sounds of the facetious moog of Manfred Mann or the hotter one of Eloy. «Ethereal Melodies» (7:55) weaves its melodies of an extreme sensitivity on a carpet of silky keyboards and discreet acoustic guitars, The pure voices of Adeline, Carina and Mathieu mix in a stirring polyphony of delicacy and sincerity, punctuated by flutes and completed with a guitar solo that directly address our noblest senses. The theme of «Back In Time» (14:24) is more serious but the youthful enthusiasm of the French group allows to cross these few moments of despair without giving up a bright and proud interpretation. This troubled symphony, with a theme of unfathomable depth, invades us with its memorable melodies, its celestial harmonies. Planant introduction, mellotron from King Crimson's first album, pastoral folk-prog celebrated by the traverse flute, medieval winks, stunning solos of organ Hammond jazzy, bridge rhythmized with a lightness, a velocity and a precision that reminds us of the Canterbury style, romantic interlude with classical piano, angelic polyphony, disstructured and syncopated final, «Back In Time» blows the hot and cold but is not so much an eclectic mix as a miraculous style collision. «Coexistence, part 1» (11:20) is a long frenetic instrumental, the most technical part of the record, at the gates of jazz-prog-fusion, without giving up sumptuous melodies. It is above all a remarkable sequence by the fluidity of its arrangement, the obvious strength of its construction. This track with a dazzling unchained rhythm, marks a form of apotheosis, giving both the sensation of an uninterrupted epic momentum but also that of a permanent contrast, accentuated by gigantic major chords, leaving us in awe, with burning desire to hear more. The record ends symbolically with the song of the whales, this lament of our mother earth that manifests itself with grace and sweetness, like a sorrow seeming to come from the very origins of the world and which can, as the whole of Oddleaf's record, and leave within you an unspeakable and disturbing feeling of anguish and sadness, as well as to appease you and give you the hope of a better world, in harmony, and more respectful of nature. Where Ideal and Denial Collide is a masterstroke made of words and music that pierce our armor of indifference like projectiles and fragment into shards of life. It is the fabulous embodiment of Oddleaf's humanistic visions, as a subtle essence poured from the heavens that comes to dorate with its bright reflections our moments of melancholy to make us finally feel the fearsome and solemn love of nature and open before the eyes of our mind the magical horizon of a new world, filled with a bright future. (review previously published in Big Bang Magazine #127)