MAGNÉSIS

— First review of this album —

MAGNESIS gives a regressive instrumental souvenir album for listening by the fireside.

"Snow in December Part1" rural, Oldfieldian intro, monolithic melodic tune for a slow rise, ideal for an 80s sound; yes but 40 years have passed; 5 minutes and a sudden airy break on a new-age sound from APSARAS, followed by the induction with Eric's fruity guitar solo, on a Rothery from MARILLION; crystalline, intense synth, its own and singular for the second part; afterward it's a jump to reminiscences about PENDRAGON, a little further on the famous bells of Mike OFDFIELD in the window; marshmallow finale with a vintage keyboard from the time when progressive rock still had all its letters of nobility; Well we can hear the cows returning to the stable with their own bells, let's see the other side of the record.

"Snow in December Part2" oh the nervous guitar, it changes completely; paf direct electric break, synthetic like on the ARAGON 'Mouse'; spatial ambiance before a majestic symphonic development; paf floydian break suddenly then a spleen atmosphere with a beautiful Mellotron on a synthetic base; a jazz-rock side there, suave and repetitive, bang break on PENDRAGON, we revise our scales again; archaic acoustic guitar hop assisted by an enchanting flute; say 'Jingle Bells' now, wind, a plane up there, footsteps in the snow, the bell tower of Quarré-les- Tombes, yes we dream of what we can, ah Mike who appears at the bend of the path with its bells; long descent asking questions there is still time; a last warm soul-jazzy-folk keyboard break for the radio-edit, from the time when we could listen to and welcome beautiful music.

This is a difficult album for me to rate. First off, this is really my first full album of French Progressive Rock that I have listened to, thus it is also my first time listening to the band Magnesis even though this is their 10th studio album. Not being able to understand the French language very well, it also is impossible for me to follow the story of this concept album, but I think I am safe in assuming it is a variation or sequel to the Alice in Wonderland story. I do believe being able to understand the story here would most likely help in the appreciation of the album. However, the musicianship of the album speaks a universal language, and it is usually spot on.

This band was started by two school friends who had a shared love of music by Genesis and Marillion. A lot of their fans tend to compare the band to these bands. Really, the only comparison I see is that they all share the fact that they perform masked in the visages of the characters they are singing about in concert. They also author some complicated stories that they bring to life through their music. That is where the comparison ends. Their music is not really that similar to that of either band.

While it is true the music on this album does lean towards a neo-prog/symphonic style, it is apparently more similar to the French Progressive style, especially in the vocals of the lead singer. Personally, I don't care for the vocals most of the time on this album. That is not because of the flamboyancy, the over dramatic feel of the singing. It is because many times it just seems like he is singing out of tune. This doesn't happen on all of the songs, but it does happen enough to be a bother to me. This can sometimes distract from the amazing instrumentation and orchestration going on throughout the album. The performances of all of the other musicians is stellar. Throughout each song, there is plenty of tempo changes, mood changes and meter changes, but it is done in a way that each song still has its own character and nothing gets lost in over-complexity. There is also a nice use of dynamics.

There is a wide variety of styles here too, from sections approaching Progressive Metal to even sections of Progressive Electronic. But overall, the feeling is closer to Neo-Prog than anything and there is plenty here to keep progressive music lovers happy. But, if you are like me, you will have a hard time getting around a lot of the vocals here. Sometimes they are tolerable and at other times they are outright atrocious. Some of this could be because of the over-the-top 'role singing', but there are times when I have a hard time believing that when it continues for an entire song, sometimes mixed with the vocals to close to the front, sometimes obviously recorded that way on purpose. But the outstanding instrumental sections and the excellent guitar and keyboard solos throughout the album, more than make up for this.

The album is made up of 2 CDs. The first CD, I believe, is the album proper, and is the best of the two. It seems to have the main story on it divided into nine tracks, many of which run between 6 and 9 minutes. The 2nd CD is one 42 minute track. To me, it is less cohesive, even though it is mostly all instrumental. Now considering my previous statements about the vocals, you would think that would be a good thing since the instrumentals are the best part of the 1st CD. This is not so, however. While the music isn't really bad, per se, on the 2nd CD, it almost seems like it's a bunch of mini tracks that are unfinished ideas that don't really fit together so cohesively. Also, after 20 minutes, you are ready for it to end, but it still goes on for more than twice that amount. Maybe with some more listenings, it might get better.

So, the trouble it, how to rate this album. Just the first CD alone would have probably squeaked by with 4 stars, that's how good the musicianship is, even with the sometimes off-key and over-the-top vocals. But do I rate the 2nd CD along with the entire album? The single track just runs on for far too long, and probably should have been divided up to help with the understanding of the track, which seems to have something to do with General Patton maybe? There are some nice solo passages in there, but it mostly seems a bit disjointed.

I think I can give this album a benefit of a doubt and hope that the 2nd CD will grow on me some more and give this a 4 star rating and give it some time while I get familiar with it. I believe the instrumental sections on the 1st CD merit that, though I don't think I could ever get used to the vocals. Anyway, I would be glad to give this 4 stars, and welcome anyone to give me insight on the story line in the album or even more insight into French Progressive music if you would like to send a private message. I will probably come back in and edit this review in time if needed.

Sometimes you can only stand and wonder. It's a good job that we all have different tastes in music, otherwise there would be no need for sites such as PA at all. However, "Le Royaume d'Oceanea" is grossly over-rated in my opinion. For me, 22 minutes of noodling and doodling while waiting for Abysses to deliver up its intermittent charms is about 21 minutes too many. I ceased to appreciate such formless beauty many years ago: I'm sure it's all very worthy and meaningful, but life's simply too short to engage with this sort of self-indulgence. So stop listening after track 5 and you have a great album. Beyond that, I fear there be dragons.

After some 15 years of existence and 5 self-productions Magnesis eventually found their home on a major label, after being offered a contract by Musea.The band would welcome a second keyboardist in 2002, Alexandre Moreau , and two years later they found a new bassist, Fabien Lo Cicero.With a six-piece line-up they entered the La Praye Studios in October 2004 to record their sixth album ''L'immortel opera''.The recordings lasted about 9 months and the album was launched in 2005.

Propably the most symphonic of all Magnesis albums, this one met the high expectations and ended up to be a nice experience of yet another ANGE-like lyricism, surrounded by MARILLION-esque and GENESIS-like keyboard parts and the edgy guitars of the modern Neo/Symphonic Prog genre.The sound of the band contains now some narrations and some heavier guitar leads towards an updated style and the music remains rich and varied, featuring acoustic parts among the electrified atmospheres.''L'immortel opera'' is characterized by the more intense Classical influences displayed ina Magnesis album, like the opening church organ on ''Ouverture'' or on the last moments of ''Le pacte'' and the academic orchestrations on ''Final'', flirting a bit with THE ENID, although the string sections do sound a bit fake.Rest of the material is not far away from what Magnesis are used to, very deep synthesizers in a symphonic vein, guitars with both angular and melodic offerings and decent compositions with theatrical and poetic edges.One th other hand the vocals seemingly cover a lot of the album's length with some spoken parts being doubled by extended atmospheric soundscapes, that do sound rather minimalistic compared to the regular flow of Magnesis' sound.The decibels are up and so is the energy of the group, the tracks are pretty long with the combination of organ and synths being quite efficient and the result is a good work along the lines of symphonic-oriented modern Prog Rock.

Not the best but far from the worst Magnesis album.Synth parts are excellent and keyboard/guitar runs come next, the vocal lines are not particularly convinving with the chosen mellow background, but overall this was a nice effort by the group with a slightly upgraded style.Recommended.

French band MAGNESIS was formed back in 1987, and has been a fairly productive band since they released their debut album "Les Voyages de Mikado" back in 1993. They have eight full length albums to their name as of 2013, of which seven are studio productions. The live album "Faits D'Hiver..." is their most recent CD, and was released by Musea Records in 2012.

As I haven't explored any of Magnesis studio albums, I can't really tell if this live album is representative of their music as such. Due to the somewhat substandard quality of the sound recording this isn't an album I'd suggest to those unfamiliar with the band anyhow, but if you fancy checking out a band blending influences from AOR, symphonic progressive and neo progressive rock in a live setting you should probably find this production to be a satisfying one. Still, my main conclusion is that "Faits D'Hiver..." first and foremost should come with a recommendation to existing fans who'd like to experience how this band sounds live on stage.

Three years after the very good ''Etang rouge'' Magnesis seemed to have really established a solid core around Eric Tillerot.A new album saw the light in 2001, entitled ''Les gens de...'', recorded and mixed between April 2000 and March 2001 in Dijon and released again privately by the group.As with ''Etange rouge'' though, ''Les gens de...'' was promoted through a distribution by the giant French label Musea.

With ''Etange rouge'' Magnesis presented a refined, theatrical and atmospheric Neo Prog, surrounded by huge symphonic vibes, and that's the game played also in their fifth studio effort.And while the long instrumental opener ''Le syndrome de Ravaillac'' shows the group getting into more Electronic/Prog realms in the vein of SHAMALL, the rest of the album is an upright Neo/Symphonic Prog affair with Magnesis sounding very close to early PENDRAGON and QUASAR, reminding a lot of Belgians AMANDA and maintaining an evident ANGE influence throughout.Quite long and interesting proggy arrangements combine with shorter Neo Prog and Folk tunes to offer an album full of intense emotions and atmospheric passages.Especially the longer tracks combine a dramatic song-based performance by Tillerot with symphonic interludes, edgy synthesizers and excellent electric guitars in compositions, where both melody and diversity coexist.The tempos are numerous, from laid-back, more keyboard-led textures to energetic and grandiose moves with a rich sound.There are also plenty of nice Classical-inspired interludes to be found, while the shorter tracks explore either a more groovy Neo Prog style or obtain a light Celtic/Folk influence.

The millenium finds Magnesis on the rise.Another very good offering by the group, as ''Les gens de...'' is a decent example of symphonic-flavored, modern French Prog of great quality.Strongly recommended...3.5 stars.

After ''Absintheisme'' a new line-up around singer Eric Tillerot was meant to be established for Magnesis.Jean Pierre Matelot, a keyboard player and a guest in the previous album, became a permanent member and main composer of the band.Olivier Gauclin Tetu took over the guitars and now Frederic Munier handled the bass.The drumming was split between Sylvain Camusat and Denis Codfert.The new Magnesis face recorded the band's fourth studio album ''Etange rouge'', based on a story by Magnesis' author Frederic Przybyl and around lyrics written by Tillerot.The album was a private press, distributed though by Musea Records.

As time goes by Magnesis sound more tight and mature, no question about it.The style of the band hasn't change a bit, remaining somewhere between melodic Neo Prog and Theatrical Progressive Rock in the vein of ANGE, IQ, MONA LISA, CLEPSYDRA, GENESIS and ATOLL.But this time the compositions seem more ealaborate, delicate and with less raw parts and fillers.Nice piano parts, bombastic synthesizers and melodic solos are the main characteristics of Magnesis' sound and the ethereal instrumental passages give place to vocal-based passages, hailed by Tillerot's clean and melodramatic performances.Additionally the band does a great use of sampled flutes and harpsichords at moments to give their sound a more symphonic feeling.The production remains decent, the melodies are stronger than ever and there is always a fine alternation between dramatic parts and more pleasant instrumental themes.

The strongest effort by Magnesis thus far.Unlikely to leave a Neo Prog fanatic unsatisfied but also warmly recommended to all fans of melodic but still demanding Progressive Rock with a theatrical edge...3.5 stars.

I kind of cringe when some fans accuse some singer of being a Peter Gabriel clone when this happens to be pure unadulterated falsehood. Case in point, Eric Tillerot of veteran French prog group Magnesis who has so little in common with the Foxtrotter beyond the general neo-prog stylistics. In fact, the French prog vocal style is firmly ensconced in a theatrical method that has more to do with French expression than anything remotely Fish- esque. That is why André Balzer (Atoll), Dominique LeGuennec (Mona Lisa) and Christian Décamps (Ange) all seem to sound the same to Anglo ears. But that is the nature of the French language, a highly lyrical, perhaps pompous, often erudite and flowery form of expression that has little Anglo-Saxon terseness, Shakespeare be damned! The music on the other hand is hence quite operatic, often seeming tenebrous and dark but this current band relies more on modern techniques and approaches ( hints of guitar metal in the hands of 17 year old phenom Steven Codfert!) as well as gigantic torrents of sultry keyboards, heavily synthesized and mellotroned, courtesy of Alexandre Moreau. Where the old Genesis/Marillion influences become clear is in the fantasy concept/storytelling formula that made the 2 legends in the first place. But one would have to be seriously injured by flying jagged earphones to confuse this opus with either "Lamb" or "Fugazi"! Yes, Eric croons, swoons, wails, whispers, howls and hushes with obvious passionate intent, allied with assorted female interventions (from daughter and wife) to add scope and grandeur to the luxuriant melodic atmospheres. The concept album has a storyline loosely based on a novella by Frederic Przybyl , an apocalyptic event that spells the end of Earth where a selected few are chosen to resume the human race in a future kingdom called Océanéa (so we get influences that range from Jules Verne, George Orwell to the Bible, what a surprise!). I am a fretless bass fanatic and the busy burping bass of JP Matelot is immediately apparent throughout this splendid disc, combining articulately with Gavin Harrison-inspired drummer Denis Codfert (Steven's dad), so the low end is well guarded and honed to a sharp edge.

This is my first foray into their opulent discography and I have read comments about past sludgy production that is completely invisible here, as "Le Royaume d'Océanéa" is sonically crisp and highly defined, with each instrument easily distinct. From the opening strains of "Ouverture", the aquatic tendencies are entered as evidence immediately with wavy synthesizers cascading about, bold shark guitar attacks and booming bass all coalescing nicely together. The sound is fresh, breezy and involved, inspiring like some epic adventure that is about to begin. The gigantic title track is a massive keeper where stormy waves of rhythmic guitar and keys aid and abet Eric in introducing the main protagonist Darius Corealia and proposes a colossal echoing chorus that is as operatic as prog can get. The shimmering contrasts, the effective drumming and the fluttering synths are beyond remarkable, a trait that will be stamped throughout this inspired recording. When the aching lead guitar kicks in, its quite jaw dropping in terms of emotions and from this point on, one gets the impression that this will be a winning adventure. The epic 10 minute + "Le Guide" begins with shimmering piano, sweeping and emotive vocals and that sexy bass fretless rumble, then gently settles in for a floating ride with serene ease and unrushed restraint. This impression of relaxed musical cruising contrasts vividly with the sense of trepidation within the vocals (aka the storyline), the volume pedal guitar solo is utterly luxuriant and cargoed with feeling, Steven Codfert displays a ridiculous talent, the 'gamin' is only 17 and his deft fingers fly over the fret board with alarming ease and a whimsical aptitude for tone that is just mesmerizing. The biting and edgy guitar recalls Nemo's JP Louveton. Yet all is steered forcefully by the impeccable bass and drums.

Check out the stunning bass howl that opens "Sur les Ruines d'un Monde Ancien", a marvelous example of inspirational playing and utter control for the sake of consequence. The intro blooms into an evolving vocal, Capitaine Eric displaying all the drama of the French language, stellar cymbal work by papa Codfert while his son's guitar rages on the weather-beaten deck. Bloody brilliant, matey!

The pacing is dazzling as the gentle "Les Songes de Darius" provides a respite from the rolling whitecaps, the meandering torrents and the howling gales, a beautiful ballad that is gorgeously piano-led, like some Aquarian lullaby. Whooshing synths add to the gentle fanfare but it's the blistering axe solo that really hits the sails hard and marvelously ends the piece. Another short one, "Le Temple de Poseidon" is perhaps the most accessible track, a rumbling rocker that nevertheless has all the above mentioned traits, reminding us that they are a French rock band and a darn good one at that! Steven's slick little fret board licks are devilish and come across as depth charges booming off the aft, while Alex Moreau's watery Moog solo adds Wind and Wuthering to the arrangement.

But to prove the sheer courage and gall of this unknown band, they have the nerve to forge a colossal 22 minute aquatic opus, an "Abyss" where all the atmospheres, timing and colorations of progressive rock are keenly presented, with complete command of pace and effect. Serene synthesizer loops and careening fretless bass salvos create a profound sense of depth (errr ...Abyss, dude!), a fascinating underwater platform of space and sound, where sudden plunging guitar screeches enter the vortex and then?. Silence. Sequenced T Dream-like electronics shed light on some previously unseen and unheard subterranean expanses, where strange fish swim in azure waters, floating illuminated transparencies that breathe and wink at the passing adventurers (the use of slight Middle eastern tones is remarkably astute). The guitars become harsh and the drums crash wildly, the intensity accrues and then fades unexpectedly as we arrive on a splashing, sun- drenched beach of a sandy universe never visited before, a new Utopia. Birds and insects sing in welcome, as a tranquil acoustic guitar wishes safe passage, a luscious piano adding to the bliss. This sense of hypnotic timelessness never gets boring though, as if the true nature of prog takes hold, taking the listener far away into some internal universe remotely distant from any daily routine. Fantastic fade-out with dripping effects galore, Atlantis revisited. The blue water guitar wails bring us back to harbor. A scintillating epic that must be heard.

"Final" revisits the initial title track theme, a melody that will stick in your salty mind for a long, long time.

A sensational release, an hour of exalted exploratory music , easily one of the finest French prog records ever made.

5 Coral paradises

The mid-90's find Magnesis in a transition period.No more or less the third studio work of the band would be a collaboration between guitarist Pascal Maitre and singer Eric Tillerot, who also handled the bass and acoustic guitars along with the keyboard programming.They were helped by Pascal Gargallo on drums with a few appearances by Jean Pierre Matelot on keyboards and Roxanne and Martine-Magali Geneve on choirs.The album with the title ''Absintheisme'' was privately released in 1995.

Despite being mostly a work by a duo, ''Absintheisme'' is slightly better than the previous full- band work of Magnesis.Their sound is dominated by the strong ANGE and MONA LISA influences with a fresh sound,that is dramatic and over-theatrical lyrical content performed under grandiose Neo/Symphonic Rock arrangements with some haunting atmospheres.The sound is much synth-driven, based on flashy keyboard solos with a MARILLION-esque/DEYSS touch or even delivered with a symphonic edge supported by the guitar work,which is quite strong both on the rhythmic and solo parts with a sense of melody.Additionally Tillerot voice seems stronger than ever with a good balance between the melodramatic approach and the sensitive chords.Magnesis seems to be on the right path,the compositions have great alternations between mellow romantic parts and emphatic grandiose passages with also a fair amount of acoustic textures.

With ''Absintheisme'' Magnesis return back to the fine musicianship of their debut, being a balanced work of Theatrical Symphonic Rock and modern Neo Prog with quite a few impressive parts without though being an exceptional or even more a grounbreaking entry. Warmly recommended.

One concept album too far.

I have a soft spot for this French band. A band who has taken up the baton from Ange, Mona Lisa and Atoll. They are listed as neo-prog, but their sound is most definate French symphonic prog. Hence my soft spot for this band.

So it is a logic step for a band like this to do a concept album, a symphony no less. Which is a great plunge into the unknown. Just like the battle of the bridges in Arnhem during WW2. The risk is massive and mostly underestimated.

I have to confess Magnesis has fallen flat on their face on this album. There is no good melodies here. The music is everywhere and sounds unfocused. It is like a unskilled cook getting together a big dish where cod, chicken, oranges and strawberries is mashed into one big dish. It is not a dish I would like to tuck into. The music here is a blend of folk rock, hard prog rock in the vein of Spock's Beard, rock'n'roll, symph prog, classical music and some other strange tones too. The end is not a joined together symphony. It is a disjoined symphony. There are some good parts here, but most of this album falls flat on it's face. I hate writing reviews about bands I like, but this is how I see it. Sorry.

2 stars