MERLIN

Full of beauty and grandeur, HaALLOWEEN's 1994 concept album is a modern day classic epic recording which I plan to take to the 'ol desert island. Fans of ANGE will go crazy for "Merlin" which carries strong "ANGE'isms". What does it totally for me on this album is not only the superb musicianship and song writing, but extreme use of instrumentation which is full and rich sounding. While the classic instruments like guitar, bass , drums and mellotron take up much space, we are given lots of other accents including loads of violins (incl E-Bow), contrebass, flute trombone, trumpet and tuba.

This gives the album a strong symphonic and theatrical feel throughout. Lead vocals (sung in French) are contrasted with the delicate female vocals of Geraldine Le Cocq and the male vocals of Jean Philippe Brun and Gilles Coppin. Merlin is full of major mood and tempo swings and moves from tranquil passages to heavy guitar pounding moments. I can not say enough about this album except for that it is truely essential.

Another good concept album, sometimes excellent, telling the story of the most famous Celtic Magician in the court of King Arthur, also thanks to the stunning orchestral support of strings and brass.well it's an intelligent blend of progressive rock, modern music and jazz rock, whose virtuosity is evident in every passage. Besides the quality recording is remarkable and their songs are always captivating!!

There is any particular or diverse tune inside,being alway cohesive in comparison to their excellent music standard, and moreover I like to mention such a fine album cover picture evoking the northern lands of Britannia and the magical places of the Druids, which make the present concept album well worth checking out...honestly at the end you could erase an half star for a few uneven derivative parts only, but it's a minor question once again!

¿Ever heard of an "almost" album?... don't get me wrong on this; but this Halloween album is a very special one. Dark, as always, well elaborated, great composition and beautifully executed, has some flws in between that'll make you wonder "¿Does this belong to the same album or what?. In serious need of editing, you'll find incredible tracks ,and lame ones. Some of them even sound like a midi file; since some of the synthesizers used here are not a very wise choice. But... it is a dam worthy album, and the low moments of it are absolutely compensated by the higher points. Tracks 1,2, 9, 11 and 12 are stunning. the rest is midi like, and perhaps it'll bother you, or motivate a quick press of the "next" button of the music device.

First of all, the band was sent back to the Symphonic genre (from Heavy); which is truly were they belong. Their music is very dark and oppressive, but at no moment did they ever play heavy music. This is only justice.

The second remark is that all the lyrics are sung in French this time. I have experienced their poor English efforts in this department during their first two releases, so I can only be thankful to the band to have opted for their native language to express their feelings.

The third one is that the band has brought a new female vocalist on board. This is also a good news, since J.P. Brun was not the best of them. But she will only share the bill. Two additional ensembles also appear: strings and brass. They are mostly noticed during Le Sacre and Forêt (but not only).

The music that you will discover holds very much from their debut album. Lots of medieval atmospheres which induces some Ange oriented passages (but not too many.

The mood is dark and gloomy; even if the reference for this (but only this) remains LAZ, their previous effort which sounded more as a horror movie soundtrack than anything else. It is true that the music from Halloween fits a funeral party better than a wedding one.

Some parts of this album, which is mainly instrumental, are on the jazzy side (Le Sacre), and aren't really my cup of tea. Halloween is even heading Kansas while playing Table Ronde. The weird Morgane featured almost inaudible vocals. It is almost a recitation from the new vocalist Géraldine Le Cocq. Is it because the lyrics aren't quite interesting that she is whispering those?

I have to say that this album is losing its interest rapidly. The listener is confronted with little variations during this Merlin opus. A pompous effort, not very inspired music and as I have said during my Laz review, the purpose of writing dark pieces just to be scary might work for a while, but when it is repeated so often; it is annoying instead.

Two stars for this thin storyboard that goes along with little passionating music.

HALLOWEEN are a French band who have changed their style over the years.This is their most Symphonic up to this point and it's a concept album although the lyrics are all in French so I can't follow along. Both male and female vocals on this one with plenty of strings and a very Classical flavour to their sound. "Le Conseil Des Demons" opens like a funeral march really until we get a change after 2 1/2 minutes with reserved vocals.It turns fuller quickly but the tempo will shift back and forth.Piano before 5 minutes followed by organ. A good start. "Le Proces" features spoken words, percussion and strings early then it settles until the vocals stop then it picks back up 3 1/2 minutes in.This is a really good instrumental section. It settles after 5 minutes then kicks back in a minute later with vocals. "Apres La Bataille" kicks in with guitar before 2 1/2 minutes then settles back with strings as contrasts continue. "Le Sacre" is very Classical sounding with strings leading. Not a fan of this. A change a minute in but it's not that much better until before 2 minutes when it picks up with prominant bass and guitar. "Table Ronde" opens with violin that actually reminds me of KANSAS. Great sound before 2 minutes with drums and guitar leading. It settles back with violin after 3 minutes. "Morgane" has these reserved female vocals that are the focus throughout. "Arthur Contre Morgane" is bombastic early then it settles with violin then vocals. Contrasts continue. Female vocals before 3 1/2 minutes. "Viviane" is a short acoustic guitar piece. "Dragon Rouge Dragon Blanc" is Classical sounding with strings, loud drums (kettle drums?) and other sounds. "Derniere Bataille" has horns that blast on and off before it gets heavier.This is good.That changes after 2 1/2 minutes as the strings start to lead. "La Morte De Morgane" is experimental to start then it kicks in around 2 minutes.Female vocals join in as well. "Foret" is dark with strings as it turns Classical sounding. It changes after 2 1/2 minutes with soaring guitar,bass and drums standing out. A low 3 stars for me, I just can't get into this album at all to be honest.

I will first sumarize the album. Henceforth, my task is to describe and point out some observations on each track.

The beginning of this work brings part of that dark atmosphere of the previous albums, with the difference that this time there is more variety of tones and sounds taken from the instruments. The vocals also improved a lot in terms of interpretation. This defines most of the first two tracks. On the remaining songs, the proposals change radically, with orchestral performances, enhanced and made possible by the string and wind quartets (without flute); some acoustic and brief stuff is performed; and guitars plus violin are very prominent. Sang in french.

On track one, the atmosphere is somber, developed as a march with the percussion, violin and keyboards. Tones are deep, but include some interventions from the wind instruments. When male vocals show on, musicality gets more dynamic. An acid guitar and a severe pace on drums grow until its apex, when harmony and rhythym changes significantly. To get there, the keyboards make na interlude imitating a church organ. After that a distorted guitar repeats a strong low note, with subtle variations, supported by synths.

Second track presents passionate vocal harmonies, almost always male. Violin is sometimes sharp, on other passages goes lyrical, and on others it gets enigmatic ' a fabulous and diversificated exhibition. These skills and others by the violinist are repeated on other tracks. Back to the description of this track, it has also more variations from the guitar, going from low grades to powerful sounds. Female vocalist le Cocq ends this composition, making me want more of that dense interpretation.

Next track initiates soft and orchestral, with exceptional dialogue between cello and synth. Foreward there are some rich harmonies on synths. The apotheotic entry of the guitar, with long phrasings, is one of the high points of this album, and is displayed on other parts of the disc. An interlude on synths gives the guitar some breath, just to regain its powerful energy. This kind of music makes me really travel to the disc's history, and I find myself inside a forest fog, because the end of this track is a smooth and absorbing mood on synths.

A cheerful and almost romantic execution opens fourth track with a string quartet and trumpet. This does not last, and a medieval song, slightly celtic, takes place, with lute, tambourine and violin. Guitar gets along, gentle and almost quiet. When the medieval instruments exit, guitar, bass (which is a little funky) and drums improve good constructions, with some little contributions from the flute.

I wouldn't expect anything else than a pompous execution from a track called Table Ronde (Round Table). Many instruments are used ' violin, string quartet, trumpet, trombone, horn, synths, drums. This track ends a prolonged snippet totally instrumental that began on 3rd track.

Track six is one of the songs where the glorious and enlarged proficiency of le Cocq most appears. The title, 'Morgane', fits very well. The temper is dark, few instruments play in low volume. Violin delivers some few acute but exciting notes. On the end of this song a second voice sings (is it from le Cocq, made with overdub?), making a delicate and intricate harmony. When you think the song practically finished, le Cocq brings up a kind of mischiveous, gleeful laugh. Very theatrical. Ahead is a short snippet from the lyrics (with the help of google translator).

'Why give sense to what doesn't have? / We live, we die / Suddenly the night, the cold / Time flies

Your gods won't help me.

My tiny existence isn't more important than my death.'

A grand opening on next track, with longer notes on violin and synths, alternate with more cadenced moments. Harmonies are versatile, very rich on the slow moments and on the more faster playing. Violin makes outstanding interplays with the synths and guitar. All these instruments go solo and also percussive. The combination of male and female vocals is very consistent and fluid.

'Viviane' is a 2'11 piece, solely on acoustic guitar. Simple. Not very attractive.

The dramatic entrance of 'Dragon Rouge, Dragon Blanc' (Red Dragon, White Dragon) is a promise of another pompous track, but what they really perform brings complex rhythms, full of alternations, that don't follow the orchestral proposition of most of the tracks. Xylophone is prominent, together with drums, violin and some participations from synths. The lack of clearer harmonic constructions prevails in the first half of this track. On the second half structures are more organized, nonetheless the drummer makes a poor work, and this time violin's solos aren't so inspired.

On the other hand, 'Derniere Bataille' (Last Battle) is pompous and superb. IMO, the best track. Once again taking advantage of many instruments. Begins with the wind quartet. The synth makes a magnificent duet with the horn. Guitar enters high, tight and crystal clear, staying in the foreground. It's backed up by an immersive harmony on synths and drums. A rythmic section on the strings keeps growing as an interlude to the guitar. This composition doesn't get repetitive in no ways, because of precise transitions between the powerful parts.

Synth is the main instrument of 11th track. I didn't like the choose of its timbres on the first two minutes. The rest of the song doesn't mantain the high level instrumentation present on other parts of the album; one of the reasons is the drums, now going quite repetitive and dull. Vocal harmonies are magnificent. When the guitar finds some space, it makes great contributions.

Last track starts with a tenebrous mood. Soon the violin, string and wind quartets, along with the synth, takes off that direction and the whole thing is confusing until it reaches 2 minutes - half of this music. Fortunately the second half recovers the brilliance of this release, with a varied and energetic orchestral presentation.

4.2 stars for instrumentation, 4.1 for male vocals, and 4.7 for female vocals.