RETROSPECTIONS - VOLUME III

JPL, Jean-Pierre Louveton is a guitarist who has worked on the legendary NEMO Group (one of the groups operated with less prog MINIMUM VITAL which by its musical quality and his texts would be good for the French music scene, but I digress!) and more WOLFSPRING sounding prog metal. It appears this assumption of 3 volumes of unreleased tracks dating back to the 2000s and re-recorded, of which this is the rock, but not that. He is accompanied by ITIER Baptist jeans. These parts are listening to represent the work of guitarist. His style of music is rather complex, its rhythmic compositions often making a mix in my opinion between NEMO and its parallel project more nervous. From "A finger on the trigger," one starts on an air of MORRICONE well catchy, kind of intro melodies; "A strange idea" hangs over the targeted text "Luvmoovs" with a basic beat and singing in English not so obvious to me, but the guitar solo and end with a nervous riff worth seeing. "Illusions" calls by its intro, her soft voice whispering women and a masterful solo part 2, bluesy limit, cool, clear. "On the slippery slopes of madness" comes to development prog "well made" with convolutions prog-metal FM around the guitar is purely enjoyable; it is also one of the titles over 6 ' perhaps a cause and effect relationship, at least if we drag with this music, it's tempting! "No Speed ​​Limit" as an interlude instrumental that Satriani or Vai could have put in one of their albums, just to say that the person using it there are good vibrations. Rest 3 tracks including "Away" and another development prog with his captivating intro, his break with some bells to warn us even more retro- progressive movement declination prog chorus after chorus verse couplet. "My comet" is posed with a louvetonien solo, a quiet atmosphere with keyboards to enjoy the "prog French". Finally, "My darkest hour" on the same starting structure, a title with soft keyboards, acoustic guitar, chorus, and then a flight to NEMO To complete this column, know that ¾ hours, here you can get an idea of ​​what the two above-mentioned groups have come out in recent years. My flat voice comes too common, too incisive in my opinion while the guitar just erase this fact through beautiful arpeggios; it is not the classic progressive rock of course, but the breaks and other convolutions lurking inside this album make room to (re) discover.