DEMAIN A L'AUBE

Gerald MASSOIS, music with complex arrangements, a mix of instrumentation between the intimate and the epic. Reminiscences on ANGE, JPL on the French side; DREAM THEATER and PINK FLOYD for the concept.

"1939" with the symphonic intro, cinematic air and its dark strings, acoustic guitar and solemn piano, we are in it ready to face this damn war. "The enemies of yesterday" introduces the story unfolding a melodic, energetic prog metal with a beautiful languorous guitar solo; sound passing to symphonic hard-prog with a song made in France that will have to be adopted under penalty of blocking, always this more French and this less because of the understanding. "La bataille de l'Ebre PT1" follows, long instrumental with the guitar and drums in front, Nicolas's captivating keyboard can approach the sound of Léode des LAZULI, that is to say, immense also because the reminiscences on the great DREAM THEATER come to light. "La bataille de l'Ebre PT2" a capella piano with Gerald narrating the departure: 2 minutes for a high-flying progressive space, Gionatan keyboard of majestic PROFUSION, very jazzy-proggy with an emphatic sound. DREAM THEATER, Neal MORSE, on boosted JPL with less space on the voice, more musicality. The vocal phrasing mode explaining the horrors of war and the music back and forth on doubts and advances. A melancholic French prog mode with spleen, metal and playful progressive excursions; a point to explain the similarity with JPL for these enjoyable excursions and the typical voice that can slow down the musical journey, yes it is difficult to sing in our language. "Les trains d'ombres" arrives, smelling good because of the voice the melancholic songs of a certain CHRISTOPHE who would have chosen rock rather than pop. The melancholy of the title with the moving side leering at Death, the grandiloquent final crescendo which 'finally' gives French prog rock its letters of nobility flirting with the intimate and the meditative aspect.

"Une colline sans nom" in instrumental facsimile of 'La Bataille de l'Ebre' for its drifts, between hooks and progressive variations. A typical Breton sound coming from a zither, lute, hang, in short a Hispanic vibration inviting you to travel. The symphonic side put forward that we would like to keep until the end; the wild guitar break in stereo then the keyboard à la RUDESS or SHERINIAN choose. This title brightens up even more before settling again on a wind, a guitar arpeggio, sad beauty of Pierre-Emmanuel in action. Back to the original sound with the guitar solo and the spleen on all floors and the drums typical of a Saturday night ball where Hervé, a fan of prog before his time, passed by; the final vibration at the bottom of the trench. "L'encre des maux" with the explanation of the writings of the future shot, an acoustic on cloying and cruel words, is it better to know in French or hide these words in English? It looks at the famous Floydian 'Wish you' and it is worth it for the anthem of remembrance. "Demain à l'aube" eponymous with the sad intro of the cello announcing an imminent death; a calm space before the storm of bullets, a solemn piece where the voice here blends behind the piano. The voice rises and passes more easily, integrating into the musical framework as it goes. Drama, more emotion with the instruments highlighted, guitar and distorted Hammond putting on a show and giving it the finger to death. One of the brothers is going to die, the music then imposes itself with the rhythmic bass, the syncopated drums to trace a delightful harmonic line. The best thing about this album is the musical emotion that emerges from it, I repeat myself; the cello coming to die in the end like an endless wave. "Les passagers du vent" final title, melancholy in mid-tempo for the memory that remains. A contemplative ballad with Gérald whom I have not often named playing a last beautiful solo, drowned by a last eternal wave.

Gérald MASSOIS dares the French concept album par excellence! origin on PROFILPROG.

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