CAUSE & CONSEQUENCES

Anasazi ('former enemies' in the Navajo language) group formed in 2003 by Mathieu Madani on the evening of the viewing of an episode of the X-Files of the same title; very quickly they burn their production with a sound oriented on prog metal with Dream Theater sauce with concept titles. A nervous, inventive, alternative sound where the prog comes in second place to refresh the titles removed for this 6th opus.

'Trapped' begins nervous, riff and stoner atmosphere, heavy rock without concession; Mathieu's hoarse voice on the bass accentuates even more the progressive convolutions rather than the prog spirit they distilled until now; a merger between Alice In Chains and Tokyo Blade. '324' still with those metal riffs, borderline narrative voice; the dry riff leading to a dark shore where Bruno's solo can bewitch; final to the phrasing of the RATMs. 'Death Was (Her) Name' with its typical 90s metal sound after the grunge experience, to that of the 80s during the post- punk new wave versions of Killing Joke for example, also on Bon Jovi; dark, experimental, metal with de facto prog inroads; to note Tristan on the guitar sowing big riffs and a nervous, arabic and committed solo. 'Exit Life' ambient air limit, nasal voice as in megaphone, riff always there to jerk, to make move; his electro with a warm organ for the crescendo. The return to the verse before diving back on a last melodic solo like JPL can release them between rock and prog.

'Disheartening' for the 1st of the two long titles, strange, mysterious, phrasing, ephemeral melancholic notes which refer to the first titles of Anathema; it's the synth that gives a little warmth and the latent rhythm held by Anthony on drums intensifies everything; it rises gradually and surely, voice-over à la Amarok and rise still raw and refined. 'Into the Void' shows the progressive side that JPL manages to do wonderfully by playing a surprising tune with a simple guitar; we find there the structure of the hard groups of the 80s during their breaks-soli. 'Space Beetween' changes, soft pop-bluesy title and a floydian guitar that quickly sets the tone; I find the framework of PINK FLOYD that I had found on their first albums; an evolving, airy solo where only Mathieu's signature voice remains to hang us up. 'The Mourning' intro maiden for bass and air at RATM; title melting-pot of everything that has been listened to until the hypnotic, basic, effective break bringing a divine acoustic guitar arpeggio; halfway through, it's the hardos 80 riff that rises, holds you in suspense, another more intimate break on the atmosphere of the floyds of hovering and flayed Animals; title which holds especially by this debauchery of guitar notes.

Anasazi releases this tortured album, with sharp riffs, a dark atmosphere, between spleen and depressive side; complex and worked, sowing trails on landmark groups; a lot of sharp, tormented guitars to give a singular glimpse of the singular, prog metal spirit.