DRIFTWOOD

DEAFENING OPERA, which I have already reviewed in 2018, is releasing a fourth album here following the still present Covid situation. Born in 2005, they quickly orient themselves towards a prog metal sound, here and there approaching PORCUPINE TREE, ARENA, RIVERSIDE, FAITH NO MORE, ETERNITY X, ECHOLYN, GENESIS or SYLVAN! Varied voices with big riffs, planing progressive atmospheres, rhythm breaks, in short a good inventive group. Let's not wait any longer to let you know that this short album is "unplugged" acoustically oriented with a jazzy, folk, funk, country and pop slant; a singular album so let's see what wet, driftwood it is made of.

"Murghab Morning" for an acoustic intro, bass and vibrating percussions, spleen and languid air, ideal for a frank attack !! "25,000 Miles" from 'Blueprint' with a piano starting up, well that reminds me a little of the MAIDEN UNITED and their soft acoustic covers because, you understood it, we are good on that; I read a column from someone who didn't know them, he thinks it's their trademark, you need to learn a little! Repetitive Philip GLASS piano, the rest kind of acoustic beef.

"Snowman's Meadow" folk-song unplugged on jazzy notes, it's sweet, fresh, long gradually, cool. "Outlaw Feline" on a more country rhythm, a fast tune that we dream of having the electric guitar that arrives just in time for a few notes with bluesy overtones. "As Night and Day Collide" by 'Let Silence Fall' on piano, slow, majestic, jazzy drums; another facet of a heavy prog track at the base, confusing, the accent is also put on the vocals in chorus for a reworked ballad. "Farewell Kiss" with here a banjo that adds even more to the pleasant countertop acoustics; musical sweetness to listen to after work in a trendy lounge bar; aside with the voice of Alexandra in duet with Adrien; a very bluesy slide solo adds a moderate atmosphere.

"Man and Machine" covers their latest too; rhythmic intro which can shock, the tune arrives soft, bluesy again then takes off in all moderation; the shattered notes and the acoustic riff energize, the keyboard solo then the guitar solo tries to get us off the ground but we are too much in the memories of their electric antics. "Little Stone" ends this album with the same observation, a soft acoustic song whose chorus easily stays in mind.

DEAFENING OPERA without warning gives us the hit of the acoustic album, rather unplugged, but with new titles and only three covers; acoustics filled with sensitivity, stylized, pleasant to listen to both jazzy and country sounds. A well done album with beautiful melodies which hardly has any place here given the lack of progressive depth that one would expect at a minimum. Let's wait and see the next? electric.