LE MYSTÈRE DU GUÉ PUCELLE

The French jazz-lite band is back with their third album release. Since their self-titled debut came out in 2015, Alco Frisbass' pseudo-Canterbury sound has received a fair amount of attention--even some acclaim among year-end top album lists. Here we have an album that sees the band's diversity in sound and complexity of sophistication in the composition department both taking nice steps forward.

1. "Le Mystère du Gué Pucelle" (10:13) glockenspiel and Mellotron open this before a organ, thick bass, and "flute" take this into the realms of retro heavy prog. Several changes in motifs and pace help to dispell any signs of monotony until 3:35 when a slow down and stop leads to a nice, gentle Fender Rhodes space section. By the end of the sixth minute, this has moved into a kind of slowed down Caravan motif. Then, in the seventh minute, we here more of an Alan Gowan sound before some Camel synth and Ray Manzarek/Doors-like Vox Contintental organ take over the soloing. Nice drumming behind the next synth soloing section. Another break takes us to the end bell. Nice despite the fact that the musical weave lost a bit of its whole-band-complexity in the second half weave. (17.25/20)

2. "Histoire diffuse" (9:55) some very nice melodies throughout this sone--from the opening to end--often giving this much more of a CAMEL sound than. Even the drumming is sounding like Andy Ward. The synth chord progression at the end of the eight minute is a blatant Camel steal! And what follows is definitely straight from Ryder /The Snow Goose. Still, it is a very pleasant song ten minutes to while away. Probably my favorite Alco Frisbass song ever. (18/20)

3. "Sélénite" (9:14) opens as a bouncy jazz number with a chunky prog bass. Synth, guitar, and Hammond take turns leading the weave until the one minute mark when saw-guitar takes the first real lead. This is then followed by a different guitar. The keys here have quite an Alan Gowan kind of feel--especially in the chord progressions. This could be quite a nice Gilgamesh or even National Health song. The melodies throughout--even in the solos--feel kind of upbeat and light--like something you might hear at a county fair--yet most of the solos feels more mathematically contrived instead of emotional. This would not be a bad thing were the song to rise to some kind of crescendo of tension and then release, but it never really does. Still, very nice, melodic song with great sounds used throughout (though, again, I hear some pretty blatant steals from Camel). Another all-time top three AF song. (17.75/20)

4. "Pulsar" (7:18) chunky bass jumping all over the fretboard is joined by a bouncy Eumir Deodato-like Fender Rhodes before a Phil Miller/Hatfield guitar joins in with the drums. Great soundscape with very engaging, excellent melody lines including sitar and vocalise from guest Jean-Luc Payssan. (13.25/15)

5. "Alchemical Corpus" (8:05) a fast-tempo, countrified song that sound as if Waterloo Lily-era Caravan were trying to create music for a computer game; it sounds like the soundtrack to Donkey Kong! I just can't get past the ridiculous sound and my associations to them in order to get into the music and their compositional and/or instrumental merits. A throw away song that, to my mind, belongs on a progressive rock album about as much as a piece of coal belongs in a salad. (9/15)

Total Time 44:45

I must say, the band has really improved its compositional level--as well as their continued imitation and emulation of the 1970s Canterbury sounds and styles.

C+/3.5 stars; were it not for that final wastrel, this would be my favorite of the three Alco Frisbass album releases. Take "Alchemical Corpus" away, and this would be a highly recommended listening experience for any and every lover of prog music.