HUMAN ERROR!

Code 18 is a Canadian progressive rock band formed in 2008 by Johnny Maz (Huis). He chose Jean-François Rémillard to perform the guitar tasks and Bönz on bass and vocals. "Human Error" is a concept album that tells the story of two nations fighting for water, not cheerful when you know that no one will come out on top. We find Dan Lacasse (Nathan Mahl) on drums, Donald Prince (Nathan Mahl, Spyral Jones) on bass, Michel St-Père the jack-of-all-trades (Mystery, Huis) on guitar and Rachelle Behrens on vocals. Code 18 offers a new sound to set off in new symphonic musical meanders. "Crystal Of fire" in a Saga genre for the sharp guitar, plus Arena for the rest of the tempo, so neo prog, latent vocals and instrumental climbs, a bit of Zappa jazzy, final repetitive organ a little neurotic! "Underlude" on an ambient or even melancholy piano instrumental, some intros of Asia come to mind, there it is just magnificent, I love these pivotal moments! "Waste" long mysterious intro on the synth, children's voices a la Pink Floyd or Supertramp. The rhythm gradually intensifies and then it starts again even faster, a long crescendo in fact with a mess of voiceover. The last minutes denote, becoming airy, ambient, latent, a Gothic choir to finish; a quarter of an hour passed without a hitch. "Underlude II" for a sci-fi sound synth and rhythm machine on the rise, dreamlike hovering tune, enough to rinse your ears like in Arena and its "Crying". "They Took It All" arrives with a Roger Waters track, very dark, dark, then a synth- organ and nervous almost hard guitar rise, the voice almost disturbs a little sharp and too forward, the vintage 70's final with an organ a la Keith Emerson is most enjoyable; it merges from all sides. "The March" follows with a trigger on S-F keyboards like "Flash" and its little military drum. "River Of Blood" completely changes climate by offering a jerky song sung in the hard FM style, a less complex title; you have to wait to have distinct progressive traces with megaphone, Botempi synth sound effects, a final tortured solo on the guitar comes to enhance the title. "Drought" on a more conventional construction, bass creating the backbone then orchestral passage with synth at the origin, a little jazz-prog, then Arena in the background and a solo out of nowhere with the unexpected Michel St-Père bluffing, bewitching, complaining. "Underlude III" and an organ solo with toccata and Johnny's fugue with punk solo thereafter. "Bed Time Theory" completes the album with Rachelle's voice, a gentle piano tune then the keyboard gives latent spleen tones; progressive drawer halfway with piano and guitar, it's truly progressive with a predictable grandiloquent and majestic crescendo; and an amazing guitar on a deluge of notes. Neo-prog with prog rock consonances and majestic symphonic sounds, a concept that calls out, there is potential in this first draft, to be followed closely.