LE ROYAUME D'OCÉANÉA

I kind of cringe when some fans accuse some singer of being a Peter Gabriel clone when this happens to be pure unadulterated falsehood. Case in point, Eric Tillerot of veteran French prog group Magnesis who has so little in common with the Foxtrotter beyond the general neo-prog stylistics. In fact, the French prog vocal style is firmly ensconced in a theatrical method that has more to do with French expression than anything remotely Fish- esque. That is why André Balzer (Atoll), Dominique LeGuennec (Mona Lisa) and Christian Décamps (Ange) all seem to sound the same to Anglo ears. But that is the nature of the French language, a highly lyrical, perhaps pompous, often erudite and flowery form of expression that has little Anglo-Saxon terseness, Shakespeare be damned! The music on the other hand is hence quite operatic, often seeming tenebrous and dark but this current band relies more on modern techniques and approaches ( hints of guitar metal in the hands of 17 year old phenom Steven Codfert!) as well as gigantic torrents of sultry keyboards, heavily synthesized and mellotroned, courtesy of Alexandre Moreau. Where the old Genesis/Marillion influences become clear is in the fantasy concept/storytelling formula that made the 2 legends in the first place. But one would have to be seriously injured by flying jagged earphones to confuse this opus with either "Lamb" or "Fugazi"! Yes, Eric croons, swoons, wails, whispers, howls and hushes with obvious passionate intent, allied with assorted female interventions (from daughter and wife) to add scope and grandeur to the luxuriant melodic atmospheres. The concept album has a storyline loosely based on a novella by Frederic Przybyl , an apocalyptic event that spells the end of Earth where a selected few are chosen to resume the human race in a future kingdom called Océanéa (so we get influences that range from Jules Verne, George Orwell to the Bible, what a surprise!). I am a fretless bass fanatic and the busy burping bass of JP Matelot is immediately apparent throughout this splendid disc, combining articulately with Gavin Harrison-inspired drummer Denis Codfert (Steven's dad), so the low end is well guarded and honed to a sharp edge.

This is my first foray into their opulent discography and I have read comments about past sludgy production that is completely invisible here, as "Le Royaume d'Océanéa" is sonically crisp and highly defined, with each instrument easily distinct. From the opening strains of "Ouverture", the aquatic tendencies are entered as evidence immediately with wavy synthesizers cascading about, bold shark guitar attacks and booming bass all coalescing nicely together. The sound is fresh, breezy and involved, inspiring like some epic adventure that is about to begin. The gigantic title track is a massive keeper where stormy waves of rhythmic guitar and keys aid and abet Eric in introducing the main protagonist Darius Corealia and proposes a colossal echoing chorus that is as operatic as prog can get. The shimmering contrasts, the effective drumming and the fluttering synths are beyond remarkable, a trait that will be stamped throughout this inspired recording. When the aching lead guitar kicks in, its quite jaw dropping in terms of emotions and from this point on, one gets the impression that this will be a winning adventure. The epic 10 minute + "Le Guide" begins with shimmering piano, sweeping and emotive vocals and that sexy bass fretless rumble, then gently settles in for a floating ride with serene ease and unrushed restraint. This impression of relaxed musical cruising contrasts vividly with the sense of trepidation within the vocals (aka the storyline), the volume pedal guitar solo is utterly luxuriant and cargoed with feeling, Steven Codfert displays a ridiculous talent, the 'gamin' is only 17 and his deft fingers fly over the fret board with alarming ease and a whimsical aptitude for tone that is just mesmerizing. The biting and edgy guitar recalls Nemo's JP Louveton. Yet all is steered forcefully by the impeccable bass and drums.

Check out the stunning bass howl that opens "Sur les Ruines d'un Monde Ancien", a marvelous example of inspirational playing and utter control for the sake of consequence. The intro blooms into an evolving vocal, Capitaine Eric displaying all the drama of the French language, stellar cymbal work by papa Codfert while his son's guitar rages on the weather-beaten deck. Bloody brilliant, matey!

The pacing is dazzling as the gentle "Les Songes de Darius" provides a respite from the rolling whitecaps, the meandering torrents and the howling gales, a beautiful ballad that is gorgeously piano-led, like some Aquarian lullaby. Whooshing synths add to the gentle fanfare but it's the blistering axe solo that really hits the sails hard and marvelously ends the piece. Another short one, "Le Temple de Poseidon" is perhaps the most accessible track, a rumbling rocker that nevertheless has all the above mentioned traits, reminding us that they are a French rock band and a darn good one at that! Steven's slick little fret board licks are devilish and come across as depth charges booming off the aft, while Alex Moreau's watery Moog solo adds Wind and Wuthering to the arrangement.

But to prove the sheer courage and gall of this unknown band, they have the nerve to forge a colossal 22 minute aquatic opus, an "Abyss" where all the atmospheres, timing and colorations of progressive rock are keenly presented, with complete command of pace and effect. Serene synthesizer loops and careening fretless bass salvos create a profound sense of depth (errr ...Abyss, dude!), a fascinating underwater platform of space and sound, where sudden plunging guitar screeches enter the vortex and then?. Silence. Sequenced T Dream-like electronics shed light on some previously unseen and unheard subterranean expanses, where strange fish swim in azure waters, floating illuminated transparencies that breathe and wink at the passing adventurers (the use of slight Middle eastern tones is remarkably astute). The guitars become harsh and the drums crash wildly, the intensity accrues and then fades unexpectedly as we arrive on a splashing, sun- drenched beach of a sandy universe never visited before, a new Utopia. Birds and insects sing in welcome, as a tranquil acoustic guitar wishes safe passage, a luscious piano adding to the bliss. This sense of hypnotic timelessness never gets boring though, as if the true nature of prog takes hold, taking the listener far away into some internal universe remotely distant from any daily routine. Fantastic fade-out with dripping effects galore, Atlantis revisited. The blue water guitar wails bring us back to harbor. A scintillating epic that must be heard.

"Final" revisits the initial title track theme, a melody that will stick in your salty mind for a long, long time.

A sensational release, an hour of exalted exploratory music , easily one of the finest French prog records ever made.

5 Coral paradises

Sometimes you can only stand and wonder. It's a good job that we all have different tastes in music, otherwise there would be no need for sites such as PA at all. However, "Le Royaume d'Oceanea" is grossly over-rated in my opinion. For me, 22 minutes of noodling and doodling while waiting for Abysses to deliver up its intermittent charms is about 21 minutes too many. I ceased to appreciate such formless beauty many years ago: I'm sure it's all very worthy and meaningful, but life's simply too short to engage with this sort of self-indulgence. So stop listening after track 5 and you have a great album. Beyond that, I fear there be dragons.

MAGNESIS, a screenplay based on a short story by Frederic Przybyl, an apocalyptic event spelling doom for Earth, with a select few chosen to regenerate the human race in the kingdom of Oceanea?you get the plot.

1. Opening after the typical French narration, the music kicks in; it's beautiful, it's marshmallowy with the French vocals; me, who's trying to protect this magnificent language, no, it doesn't work for the prog world, that's just how it is; paradoxical, in short, a good, well-placed melodic opening that's had its day; the melodic instrumentation even borders on electronic music; in short, the finale with pads is worth it, the vocals stand out, making the French scene seem funny, which is certainly why it's not recognized. It's unfortunate since many French bands singing in English are often less well-off musically speaking; Yet the musicians are struggling in the right direction. 2. Le Royaume D'Océanéa continues, a big, heavy riff on a fat, velvety keyboard, it starts off well; the vocals deflate everything despite the real desire to do well. The question is, was GENESIS better for having better integrated its vocals, was it just as simplistic, or did Peter have a different charisma? Here, a bit of THRESHOLD and Karl GROOM from the 80s trying to do like the majors; a brief, pompous piece with a beautiful final crescendic momentum. 3. Le Guide, with the same progressive atmosphere; beautiful piano, expressive pad rolling, and the voice that fits well in a small, remote room in a small French village but doesn't go any further, thanks to VOLTAIRE. The desire to do well is obvious, the bass spurts just right, but this phrasing, this narration brings us back to earth and avoids flying away. a bit silly because the guitar solo is worth its weight in prog gold; the keyboard variation with its GENESIS 2nd period choirs is worth the detour, we finally leave; the second, more melancholic, reassures me about my analysis: it's beautiful, fine, moving and if the recognition hasn't happened, it's not by chance, only ANGE, LAZULI and MANSET were able to make prog without the voice acting as a brake; the final riff in the distance, then present there in front of you, well we're off to ANGE version 'Vu d'un Chien', very good this passage; bitter observation, very good orchestration and theatrical vocals that hit and brake for the journey; not a question of voice, just habit or musicality 4. On Les Ruines D'Un Monde Ancien could have been named on the trail of the big blue, so much do SERRA's notes resonate from the intro; It's beautiful, and we wish it wouldn't end. Look, the distinctive, theatrical voice on "ANGE" actually, still my paradoxical resistance to this language. Yes, I love France, or what's left of it, and prefer T-shirts tagged in French. The Oldfield-esque bells and then the fluid synth solo make me feel guilty.

5. Les Songes De Darius for one of the two radio edits where the voice is highlighted; for the prog, it passes for a radio track; it's a bit cloying, says my girlfriend, a hit expert. It's hard to contradict her, given the popularity of the track, which, with its expressive pad, has a beautiful progressive touch. The final guitar solo is worth its weight in gold, but why hasn't this band received its recognition? 6. The Temple of Poseidon as an encore, instrumentally it's really moving, I hear a number of very beautiful reminiscences, this time with a breathtaking keyboard solo on the edge of the reborn GENESIS 7. Abysses and 6 minutes of intro that are enjoyable, well it's long too; it starts halfway through with an electro electronic music break, yes it's long; we have a monotonous atmosphere that sets in with a reverberating piano and we arrive at the 15' mark for the assault of the waves; the fusion of genres makes us take off and go into interstellar space, astounding and bluffing; this instrumental could be played by a fan base of Klaus SCHULZE and TANGERINE DREAM, well constructed. The final guitar solo screams with joy over a tearful sound, revealing a hilarious side of this band. 8. A melodic, symphonic finale that would have been praised during the 80s for its grandiloquence; there are times when one may not have been born at the right time, with solemn trumpets closing this aquatic odyssey.