PARADIS POSTHUMES

GALAAD is releasing its 4th CD at the start of the year; after founding in 1988, dissolving and reuniting they may have found their musical Nirvana with age. I say no more because I have already reviewed their penultimate! Keyboards, Moog, guitar solos and expressive vocals in French, aggressive lyrics about man's eternal struggle against his destiny, flirting with prog metal, grunge and finally crossover with reminiscences progressive 80 '; an epic metallic sound, pop at times and an amazing groove atmosphere. Fragile as hard, delicate as abrupt, the musical oxymoron is on the other side of the border, let's see if it stays in the footsteps of "Frat3r" or returns to the fundamental "Vae Victis". A sound originally smelling good of GENESIS, MARILLION or ANGE, there more muscular-prog crossover like a musical bomb filled with emotions; this latest album is a snub to death, to the sad fate, to the battered fate of humanity. Stan W. Decker cover for info.

"Terra" for a devastating, original, punchy, progressive intro; it oozes everywhere, it's symphonic, dithyrambic, innovative and majestic that's all of it. "Apocalypse" drives the point home, in a neo-prog and prog-metallic way; bass power, attention-grabbing melody, energetic PyT voice accompanying the various instruments; metallic and rhythmic prog drawer, on overboosted MINIMUM VITAL, on degreased ETERNITY X, a little RIVERSIDE, a lot of MARILLION especially for the Rotheryenne guitar; there is an emphatic side that goes well with this title that allows Molière's language to be magnified here. "Moments" and a monolithic keyboard starting with the voice flirting with that of Leonetti from LAZULI; a slightly soaring mid-tempo, Rothery is behind the stage, the orgasmic vocal rise gives a ... romantic moment of ecstasy and drowns in the notes, the guitar solo engulfs the last recalcitrant who reads this note. "The dream of unity" basic synthetic entry and marillionian guitar then ouh the ANGEL is not far away, the katana, the riff, the crazy keyboards of Father Décamps ... Gianni holds the ramp well; a bit of ARRAKEEN, in short the slap continues in less than 5 minutes with the voice and the languid guitar. "Amor vinces" and the ACCEPT riff like "Breaker", we are familiar with heavy metal; the rhythmic base with Laurent and Gérard prints a hard-hitting tune, the shifted chorus makes me smile as I remember my 6 years of Latin, in short, it continues with its feet to the ground, but I repeat to you that love will conquer.

"Pain" for a sweetness, a vocal appetizer bordering on fantasy, it is dreamlike world-music as LAZULI knows how to do so well; it whirls, it twirls, the voice moans, howls creating a musical atmosphere, it comes down with a verse that does not disturb; the voice fits better with the instruments, a little boring then this hypnotizing and explosive sound that puts you in a trance, yet another strong, bluffing and energetic piece; this is the word that will come out of this column.

"The instinct, the instant" with piano at the opening, PyT sets in motion, a melody that takes you by the throat, stung by the snake? Synths magnify musical osmosis, give more sound and meaning to the melody; GALAAD is doing GALAAD here and doing it well; the guitar of which you know greasy and squirting; we believe in a long crescendo but not the SUPERTRAMP piano returns to the middle and accompanies this inimitable voice which speaks without breathing on an endless chant; choirs at the very end of the course that stretch a bit for a long time. "Your enemy" and I start listening and recording the lyrics, to an aria by Philip GLASS or Klaus SCHULZE, the choice is yours; majestic beauty highlighted by top-notch text. The spleen guitar from the FISH era of the MARILLION with a little more on the emotional, on the 'Forgotten Sons'; the strong percussions give another way to this title and I am glued to the belching words, me who does not listen to the lyrics in general; GALAAD has just released an OMNI and I chronicle them, like a catchphrase from OLDFIELD then MARILLION again, this title is a pure pleasant danger! "Posthumous paradise" and the radio title edit, voice and instruments give each other the same, softer, pop-rock, choirs that sink, a keyboard that reminds me from afar the 'Follow You, Follow Me', Sébastien shows here by twice he has a nice touch filled with feeling, progressive atmosphere here. "Sidereal day" for the main title: a bit of William SHELLER in the background, one minute for the start-up then it goes and it rises, the crescendo is especially valid for the texts and the high-pitched voice of PyT; hey, it smells like LIGHT DAMAGE for a few moments then MARILLION; it is the keyboard that separates these two groups with a more ... synthetic side! It goes again and you close your eyes because the 'Forgotten Sons' comes back to the fore, but just go to the end of your story and join the sky because it is worth it. "Divine" or the end of story prayer to once again bring out Pyt's voice, an orgasmic nod to the great Christian for those flowery words.

GALAAD is releasing an album with texts in divine French, on a metal and groove variation, on a current neo, a pinch of pop, would the future bite into this fusion? An energetic album at the top much better than 'Frat3r', an essential album which gives back its letters of nobility to the French language, thank you Swiss, thank you GALAAD, buy it and remember, those absent are always wrong.