YANG

1. Step Inside intro intriguing, from the FRIPP period 'Discipline' inside, from the TALKING HEADS for a heady musical mantra; it becomes jazzy, it rises, it gallops and it is finally catchy on an explosive, fruity bossa nova rhythm 2. La Quatrième Mort/La Vie Lumineuse starts on a melancholic nursery rhyme... of all beauty, amplified by the suave voice of Carla from SLEEPYTIME GORILLA MUSEUM. Scattered notes that flow like an endless torrent; the variation both jazzy and on the bucolic territories of the GENESIS of yesteryear with the plaintive voice and the archaic piano, 3. Concretion with this guitar, the sound of inimitable Frédéric, flirting on a frippian riff that sends on warm and dark progressive territories, musical dichotomy of having thus two opposites that associate pleasantly; the sound becomes more fluid on a hackettian arpeggio, yes we are surfing on the reminiscences of the great Dinos there; in short the surprise is big given their heavy prog label not updated! 4. Get Lost is the song that stuck me, word written at random; a fusion between the voice and the instrument, a mantra, a catchy melody that transports you right away. A musical Nirvana, yes I dare; there is a zest of the best BJORK, hints of recent MEER, there is this divine rise that escapes the drawers of comparison; it is beautiful, captivating 5. Fire and Ashes for the cinematic intro, the current fashion; as if we were entering a recording studio at the time of the adjustments; the discordant sound goes on a heavy rock vocal, ah finally there; the hint of MAGMA in the distance; the sound juggles while descending on a minimal tempo, hypnotic before resuming its desperate cry; the final variation on an aggressive sound out of tune again with cello, imaginary or real, which tenses, yes the wink with the mythical piece of KING CRIMSON comes back to me in full face, polyrhythmic string pinches. The dreamlike crescendo soft and violent at the same time, oxymoronic 6. Entanglement not that of GENESIS; the voice in French surprises positively, soft, plaintive, evocative; the handover with the language of Albion did not mark me, I understand English now? The guitar wants to be playful, the tribal, medieval percussions add to the folk climate; strange and admirable. Think about taking a break.

7. Light as a Cloud arrives, softness of syncopated notes accompanied by a crystal guitar arpeggio; an innocuous piece which unrolls and rests the ear 8. Rejoice! and the return of the voice, and the sounds again aggressive, crimsonian in the search for the avant- garde not necessarily taken at its best; jazzy drift, zappaesque, a bit of RIO, everything goes in this strange piece where the raw side of the voice floats near the shadow of frippian guitar 9. Berceuse for the Guilty latent intro, dark, chamber music where the percussions come to the fore; air of wandering on the typical guitar, relaxing 10. Strange Particles ah yes the riff of a simple and effective KING CRIMSON is not far, metronomic. The idea of ​​a journey on jazzy lands, electric gypsy, on redundant notes, moment when the length of the album begins to become clear; do not hesitate to cut the listening in fact; note the effective work of Nico which allows to weld the framework and prevent the sound from going a little too much in all directions. 11. Surrender with a male voice, which one? A RIO track with repetitive frippian guitar with a bit of ART ZOYD in the distance, I'll have to listen to it again 12. We are Heralds bis répétita, 'Discipline' era we agree with the work of David SYLVIAN; the sound becomes heady if not mantranic like at the beginning of the album; come on a bit of South America to make you dream in the final climb 13. The Final Day ah for the end and a long vocal mantra to close, a long orchestral variation rhythmic like potpourri and fireworks; it's soft then aggressive, never metal or heavy, just syncopated with guitar arpeggio beaches to rest the ears. The finale with the Charisma sound and the captivating organ gives a spice that was starting to be missing on the previous tracks; a long track that allows you to come back from this singular musical maze. Originally on Planète Prog.

It is only two years since Frédéric L'Epée (guitars, synth, chorus), Laurent James (guitars, chorus), Nico Gomez (bass, chorus), and Volodia Brice (drums) released their last album, 'Designed for Disaster', which makes their fifth album the fastest to follow another yet. That might have something to do with the review of that release which Frédéric read where it was compared to America's Sleepytime Gorilla Museum. That led him on a voyage of discovery as that band was new to him, and he realised their singer, Carla Kihlstedt, would be perfect for the work they were doing so he invited her to take on lead vocals. He found himself writing with her voice in mind and providing lyrics with meanings as he wanted her to be driven by them the same way he was.

There is no doubt that many will think of Yang as followers of King Crimson, and their complex, syncopated and polyrhythmic guitars certainly brings to mind Fripp, but only in the sense that they are incredibly experimental and inventive and need immense skill to be able to provide the musicality and melody which turns these into more than just complex finger exercises. The five songs (out of thirteen) which contain vocals feel different to the rest of the album just because the focus is in a different place, but there is no doubt they belong here, and it is difficult for me to say which style I prefer, but the instrumental "Concretion" is very special indeed and at 7:25 is just way too short. This is my first exposure to this French avant progressive outfit but I can see I need to seek out of the rest of their albums as this is very special indeed.

Maestro Frédéric L'Epée, accompanied (among others) by the great Carla Kihlstedt, have given us this 2024 one of the best works that can be heard in the avant-prog genre.

Beastly counterpoint between 2 guitars, very much in the style of KC but which are only bases on which the band has to deploy choruses and arrangements that completely separate their sound from that of the immortal Crimsonians.

Even the calm songs are covered with beautiful arrangements that give them an aura of mystery and a certain ceremonious darkness that serve as a momentary haven within an album that successfully goes back and forth between several progressive subgenres, under the direction of that genius called Frédéric L'Epée ...

Exquisite and unmissable listening!!

Precise and creative performance of a Heavy/ Post Rock/Math Rock mixture, tainted with Jazzistic ala Django Reinhardt flavors and brushes with some Rock in Opposition's colors here and there. Meaning for Heavy Prog followers that "heaviness" is more than once or thrice undertoned or even subdued totally in favor of discovering refreshing ways of musical expression.

YANG's first, 2004, release "A Complex Nature", is complex in its clockwork performances not that much in its music composition, which for a first release serves as a promising statement of brighter things to come which if, by luck or work, could explode beyond its own first steps borders in the future.

As for now, the mechanics of team work are quiet well based and oiled, which in turn deliver more than once highly inventive solutions to otherwise quiet well travelled roads. The kind of release that is worth listening to yet ,(unconsciously maybe), makes me wonder how far matters could be taken in the future of YANG's musical idiom. I hope really far because the talent to do so is already there.

***3.5 stars.

Following the disbandment of Philharmonie, Frédéric L'Épée had a small accident that allowed him to rest for a period before hitting the road again on some solo concerts.However he soon returned to the recording projects, forming Yang along with Philharmonie's last drummer and original member o the Prog Metal act Lord of Mushrooms Volodia Brice.The crew was completed with another guitarist, Julian Vecchie, and bassist Stephane Bertrand.They recorded their debut ''A complex nature'' at Studio 26 in Antibes, which was released on Cuneiform Records, a label that has been supporting L'Epee since his early Philharmonie days.

Yang continue from where the music of Philharmonie stopped, playing an emphatic and powerful instrumental Heavy Prog, obviously guitar-oriented, with a jamming attitude, even more supported by the fact this work was captured in just three days at the studio.First and last reference point of the group seem to be KING CRIMSON and their post-73' complicated works with L'Epee and bandmate Julian Vecchie offering dual, technical guitar exercises, split in tapping grooves, jazzy solos, low-tempo melodies and frenetic leads.The album is far from boring, despite its limited instrumental diversity, as the duo delivers plenty of varied textures, flirting with Fusion and Post Rock quite frequently, while the solid rhythm section provides the appropriate background.Soundwise there are also a couple of more atmospheric tracks included, which lean towards the more laid-back and psychedelic instrumental Rock side with hypnotic guitar scratches in evidence.Some of the virtuosic passages of the album are simply excellent with somekind of furious jazzy plays and complicated structures, blending rhythmic lines with sudden, atonal breaks.

Another work, where L'Epee's composing talent can be praised, as he is the main contrubutor on Yang's debut.Really succesful title as well, this work walks dangerously on the thin line between dissonant complexity and atmospheric virtuosity.Recommended.

I am enjoying this one very much... completely instrumental - interlocking cyclical guitar lines often very angular and Fripp-ish.... the music is like a fusion of the pattern-based 80s King Crimson and the mid-70s Bruford/Wetton/Fripp incarnation. Some may say this is the fusion of those two periods of Crimson history that 90s+ Crimson delivered. However, the way this new Yang album differs and sets up its own stall is that, whilst heavy (and it does rock at times), it does not really carry the darkness of Crimson and, with less focus on lengthy atmospherics and tracks that average around the 5 minute mark, nothing outstays its welcome thus making for an pleasant and varied listen. That said there is intensity here with a high level of rigour in the construction of the compositions, the ensemble playing is very impressive indeed, there are lots of complex time signatures and there is a very clear and punchy production in evidence - it basically kicks ass on all levels. Aside from the obvious attraction this will hold to Crimson/Fripp fans I think this will also appeal to fans of the likes of the Bozzio Levin Stevens 'Situation Dangerous' album.... The only complaint one might make is that it certainly wears its debt to Fripp/Crimson shamelessly on its sleeve and can appear derivative, but lets face can any of us into the sort of music discussed on this site think of a better band from which to derive a satisfying stylistic blueprint?..... Heavier than their debut 'A Complex Nature' this is a most impressive second album from Yang.... Its a pleasure to be the first on this site to review it....

YANG is the brainchild of Frederic L'Epee the former guitarist for PHILHARMONIE and SHYLOCK. It's recordings like this that make me so glad i'm into progressive music. This band combines dual lead guitarists who can be intricate or angular, while the bass is very prominant along with the drums, offering a lot of bottom end or at times jazzy melodies. Lots of variety on this one. In the liner notes they mention that it took three days to record this album as it was important for them to try to preserve the intensity of a spontaneous performance. And yes, "A Complex Nature" is an appropriate title.

"The Two Worlds" is probably my favourite track because of how dark and heavy it is. There is this heavy undercurrent early and the guitar leads are outstanding ! Lots of chunky bass as the guitar starts to solo a minute in. It does calm right down to a very cool soundscape with intricate guitar. A minute later the heaviness returns with angular guitar this time. I can't get over how heavy the bass is. This is pure bliss for me. Haha. It settles down again as the contrast continues. "Subterranean" is complex and intricate,think "Discipline" by KING CRIMSON. I love the angular guitar 1 1/2 minutes in. A nice heavy sound before 3 minutes. "Innocent Seducer" is a mid-paced, guitar led tune with fat bass lines. It's quite catchy at times. Check out the guitar melodies 4 1/2 minutes in.

"Compassion" opens with gently played guitar, before the other guitar comes in beautifully with drums. As the title suggests this song is warm and giving. Nice bass 2 1/2 minutes in. I really like the guitar 3 1/2 minutes in as it gets a little more passionate. "Manchild" features different shades of sound for the first 2 1/2 minutes, then intricate guitar melodies dominate until it ends like it began. "Impatience" is kind of a groovy track baby. Relaxed and fun until the final 30 seconds when we get another "Discipline"-like moment. "The Red Mask" is a melodic and catchy guitar led tune. I like the sound 2 1/2 minutes in when it calms down. Back to original melody a minute later but with heavier bass. "Pride" opens with drums and a heavier sound. The guitar starts to take the lead 2 1/2 minutes in with lots of bottom end to support it. Check out the bass 4 1/2 minutes in.

This is an excellent instrumental album that is worthy of 4 stars.

In 2004, master guitarist Frederic L'Epee was back in top form... and with a vengeance. After dissolving the great French rock fusion band Philharmonie in 1998, L'Epee broke away from the clean and seamless sophistry of his past project and formed a looser, harder and more versatile union of great players; bassist Stephane Bertrand, drummer Volodia Brice, and his student Julien Vecchie on second guitar. With precise polyrhythms in one hand and urgent rebellion in the other, these guys rip apart eight tracks of some rough-edged rock with a jazzman's sensibility, hopping between manic, Hendrix- tainted guitar stank and quirkey white man's jazz.

The harmonic abrasions of 'Les Deux Mondes' start us off and lead into the smart and powerful riffing that is the trademark of this ensemble before quieting down and rising again to finish the job. Demanding, melodic, marvelous. 'Souterrain' continues in this mode, and 'Seducteur Innocent' percolates with chunky chords, jazz breaks and nice twin-guitar harmonies. 'Compassion' calms things down a bit and meanders soothingly, showing hints of Frippism, 'Manchild' reflects the arithmetic progressions of Don Caballero and the math scene, while 'Impatience' bops with a nod to the melancholy electric jazz of Joe Pass and Wes Montgomery topped-off by some heavy mud. 'Le Masque Rouge' finishes this very pleasing CD.

Intricate without being arrogant, rockin' without being low-brow, Frederic L'Epee's Yang comes most highly recommended, especially if you're in the mood for a change.