ULTIMA RATIO

Gerd ALBERS benefited from the help of many artists such as Jean PAGEAU (MYSTERY), Marek ARNOLD (TOXIC SMILE, SEVEN STEPS TO THE GREEN DOOR) and Martin SCHNELLA (FLAMING ROW) to release this 3. Ah I forgot Gerd c is this all-Teuton touch to the sound ranging from MOSTLY AUTUMN, ARENA, FLAMING ROW, TOXIC SMILE or the oldest ELOY and AYREON; refined prog with 6 different vocalists and 10 years of intriguing art-rock sound. He released this 3rd concept album talking about the pandemic, on a musical and societal reflection, a dark future transcribed into texts; here it is already the 5th wave and its increasingly inhumane measures. A more modern sound, accessible, less folkloric than its predecessor in which we throw ourselves.

"Ultima Ratio (Pt. I) Prologue" symphonic intro, on prog metal à la AYREON, latent and intoxicating, the title that makes you let go of the watts on your channel, very good start. "New Normality" return of this acoustic guitar bringing a conventional prog metal title on a sound of the latest PINK FLOYD where the singularity comes from the half-phrased, half-raped break confusing for a moment; the fat guitar solo afterwards raises the impression, it goes on VAI, MALMSTEEN, BLACKMORE, in short, only good with a fat and juicy synth as it should be in a hard melodic atmosphere. "Weeks of Sorrow" enjoyable entry on the highlighting of the drums, then a borderline AOR tune on this consensual melodic title well typed 80's for the fact. "Code Red" continues back to the acoustic guitar and the arrival of a feminine vocal pouring into the bucolic ballad which will go crescendo for a colorful finale à la MOSTLY AUTUMN. "Hope" for the acoustic-electric interlude, the title that gives all its letters of nobility to prog in general by editing these little gems.

"Dead-end Street" continues with the title which is likely to make everyone agree: more elaborate, heavier, more nervous, more in the metal prog movement of this decade. Pop verse set back then it goes with this riff that feels good; the heaviness of the air does not make me find analog sounds, which is a good thing after all; it plunges into the melodic metal of the 90's, the reminiscences are not too marked. Little more to the final solo and the magical voice of a great frontman also on his original group. "Depressed Sentiments" for the second romantic-folk ballad where the piano and the choirs can make you think of a watered down ALAN PARSONS , to a MAGENTA, a KARNATAKA, a bit cutesy and long. "Keepers of the Fire" continues with the title river intro sweet spleen with a melodic guitar solo then nervous prog metal break, on a tune reminiscent of FAITH NO MORE or TOKYO BLADE and RUSH for this characteristic phrasing; break again with the calm voice of Jean PAGEAU which brings warmth and velvety, yes we would eat it; his flute fascinates, a slight nod to the GENESIS of yesteryear in fact, the notes become crystalline then it takes off again for the last more symphonic third with this drum pad that never ends; the bewitching finale between soaring notes and mysterious sound filled with spleen, perhaps a hope for a positive ending, in short the perfect title. "Ultima Ratio (Pt. II) Epilogue" completes this set with the encore of the intro, a piece where the musical art becomes a therapy for this low world.

PROJECT PATCHWORK3 is therefore the musical concept that can be listened to easily, almost too accurately. Melodic, soft titles mixed with some more nervous ones can confuse the attentive listener picking up this rather puzzling difference; melodic yes, art rock yes, progressive music well formatted so as not to scare and have a good time, what more could you ask for to forget this pandemic for a while? A very beautiful album which shows that the two protagonists have taken advantage of this imposed confinement and in fact sign a very nice surprise.