LIGHT DAMAGE

"Gears Aligned" latent intro, airy spleen bringing the drum pad and the bass synth; Nicho is Nicholas-John Dewez, he comes to put his voice, always suave, expressive; the air is varied, requiring listening. 80s and 70s synth break on a burning DEEP PURPLE; note the voice of Kelly Sundown having played with ADAGIO halfway through, eyeing that of CHURCHILL often used in prog and prog metal compositions; Nicho lets his voice go with an airy, shuddering oh-ohhh; the break with Frédérik who plays his 12 fingers making his bass vibrate like on ARENA's 'A Crack in the Ice'. Stephane's solo launches a long musical plot making the listener wander into the modern prog world, one that sounds energetic; time stops; the air intoxicates our hearing capacities before Nicho's vocal phrasing gives the title a melodic meaning, a good slap. "Luna" with the NASA intro, simple but effective; Nicho lets his captivating voice do the work, making it wander while Stephane releases a warm spleen arpeggio; the break with heavy bass and colorful keyboard reminds me of an ARENA era, a nice comparison for a fast song. "Neon Dream" arrives, layers of invasive synths on an 80-90s-inspired prog metal riff; the thick THRESHOLD synth to swirl around, the spleen guitar even during the verses, this little extra that I love in LIGHT DAMAGE. The gentle and effective rise, the orchestration swells and Nicho infuses modern prog energy, the one where keyboards and guitars create osmosis. "Neon Dream (Radio Edit)" to note on the websites this version, from the time when prog groups tried to get on the radio in? less time, nostalgia for times gone by; it's still Nicho who sings helped by Maggy Luyten; the more direct sound, a touch of ultra bass rock and the solo which ends more quickly; where is the rest?

New prog seeking old sounds from the 80s and 90s and amalgamating them in a modern progressive spirit..

Regarding the titles, 6 including a Dantesque of almost 20 minutes with use of cello, flutes as in the good old days, phrasing monologue; from "Number 261" the rhythm organ to the 30''TO MARS, a plaintive guitar à la KING CRIMSON 2nd version accompanied by an energetic and very present drums set the tone (failing the A!) on duet voices . "Bloomed" follows with this haunting, alluring instrumental where the guitar plays in jerks just long enough to introduce "From Minor to Sailor". This flagship title that stunned me: a plaintive guitar, melodic synths, a clear almost aerial drums on one side, the two voices that call out around 5 minutes for a sweet exchange, a break around 7 minutes to rest a little before moving on to a Rotheryien solo. An atmosphere again Misplacienne (the darkest moment of the title) around 9 minutes then opening on a succession of instrumental and vocal returns and a final around 16 minutes on the resumption of the main air as if nothing had happened. passed before. Until the flute concludes this epic journey on a miner wanting to build a boat. A plaintive, melancholy and also paradoxically lively sound. The second part of the album, like in the days of LPS and other K7s, begins with relaxing cello notes before giving way to the voice and then to the enjoyable guitar with Rothery returns; an exhilarating beautiful crescendo. "Phantom Twin" comes along with an explosive intro, AYREON-style atmospheres on the voice of P. DICK, bringing here also a plaintive song with detours on the neo-progressive current of the 80s, but updated, boosted with a more raised sound , demonstrative and striking. Lastly, verses by E. GALEANO on a calm, sober tune giving pride of place to classical piano and violin instruments, just to return to the current world.

This 48'30 '' album struck me by the mastery of the tunes on offer, by the logical thought given to the instruments, whether wind or electric. By the time given to the guitar often plaintive then less melancholy to give more hope to the atmospheres, by the distribution of almost meditative, dark atmospheres followed by others more cheerful to bring to a note of serenity at the end of this album! You will understand, a very great moment for a band that has transcended and captured a sound of the 2020s, quite simply! An OLNI bomb !!

On the first album I said they reminded me of Guy Manning, and although that is still very much the case, they have hardened the sound as well as broadened it, so although we can be treated to some flowing piano and delicate bass, this can give way to some driving riffing guitars. I am also very impressed with Szczryk who really understands his place in the band, so much so that he can be driving the band with incredibly strong drumming (along with some great rolls around the kit), or just sits back and takes a breather and contributes to the overall sound by playing absolutely nothing. There is also a superb use of different sounds from cymbals, which provides a superb backdrop for the rest of the band. Guitarist Stéphane Lecocq has also really matured with this album, and his powerful interplay with keyboard player Sébastien Pérignon really drives the band on.

Strong neo-prog with large elements of both symphonic and hard rock, this is a wonderful follow-up. It will be interesting indeed to see how this band progresses over the next few years, as two albums in they are already very impressive indeed.

Musically they have been paying close attention to Guy Manning, and have then taken this with more neo influences to create something which feels very rooted in the Nineties, and to someone like me who was very involved with the scene back then, it is a very welcome sound indeed. It is a very British sound, and they play with a broad palette, and 'Meddle'-era Floyd touches here and there. One of the delights is there are many layers, so there is more to discover with each unpeeling of the onion as the listener gets more inside the music and what the band are trying to achieve. The album tells the story of a person who loses a loved one, while the cover itself is a representation of the story as it is an old piece of fabric which has been torn apart by years and damaged by different manipulations it ugly and belongs in the garbage, or is it beautiful?

Powerful and gripping, this is a superb debut album which any fans of the sub-genre would do well to investigate.

Those who have a general affection for music that people describe as neo progressive rock should find this debut album by Light Damage to be an enjoyable one. The material touches base with many of the well known bands associated with this genre, yet never sounds like replications of any of them, and the band makes sure to add some elements of their own to the proceedings too. The end result is material with a distinctly familiar general sound, yet more diverse, and arguably more sophisticated and adventurous than many other bands of a similar kind. An easy to recommend album to those who find that description to be an intriguing one.

Light Damage is from Luxembourg and they have the debut in 2014 self titled. , Well if I summerise the music and all from this release in one word then will be - intresting. From the vocal parts provided by Nicholas John to instrumental passages this is quite an enjoyble liten from start to finish. This is not typical neo prog album heared every day, not because is among the most original releases from today, but because the members trying to bring something diffrent in this genre and most of the time succeded. With influences from almost ghotic zone, in some parts I swear I listen to Lacrimosa, but combined with neo prog sensibility Light damage is definetly a winner for me. Mid tempo most of the time with long pieces, elaborated arrangements and a fantastic voice on top just to be checked opening Eden or the best from here . The Supper of Cyprianus and will be pleased for sure. The guitars and keybords have some great melodic lines and is fiting perfect in overall sound. All in all a good debute even great in places, for me 3.5 stars. For fans of Sylvan or more moody type of neo prog. Strange art work btw., but music is counting after all.

When I play it, this album grabs my attention from the first second.

The opener Eden, starts with a guitar and tubular bells ticking away like a clock, before building up into a guitar driven instrumental that only stops to make room for a vocal part. Here, the first hint of vocal harmonies appears - promising more for the rest of the album. The track builds up to another crescendo that seamlessly connects to the next track Empty.

Right after the start of Empty, the band quiets down, to allow singer Nicholas-John to sing the opening verse. After that, the band builds up a great heavy progressive rock sound, ending in a guitar and keyboards taking turn soloing, leaving the final note to the organ that was wailing underneath all the time.

The master piece of the album is the mini epic The Supper of Cyprianus. Here Nicholas- John guides us through the story of this supper, that turns from a feat into the execution on the spot of a girl, convicted of being a witch. Luckily for all, she returns as an angel in the end. Well worked out keyboard melodies and guitar solos by Stephane Lecocq support the changing mood of the story from beginning to end.

After this story, we go straight to Heaven, another track that builds up gradually, this time with a key role for the rhythm guitar, which at times is almost metal like.

The short instrumental F.H.B. (For Helpful Buddies) may be dedicated to people helping the band, but I found nothing to confirm that. It's features a plucked guitar and keyboard under a melodic guitar solo. Short, and uncomplicated, it is the least grabbing track of the album.

After this, Touched proves easily to be the heaviest track of the album, with a lot of guitar and interesting, less obvious keyboard melodies.

Light Damage has, by other reviewers, been compared to Sylvan, Pendragon and IQ, but also Marillion. I'll avoid further comparisons, and prefer to think of Light Damage's music as rooted in 70s progressive rock and later neo-progressive rock, where keyboard melodies and heavy guitar work support well executed vocal work. Nicholas-John has a very slight French accent, which leads to unexpected pronunciation in some places, but it works out very nicely.

A promising debut!