LA BARQUE AILÉE ET L'ALBATROS... QUAND S'ENVOLENT LES MOTS...

SEVEN REIZH comes here to fail his journey with this 5th double album on recreations of previous titles; an adventure started 25 years ago delivering emotionally strong music, an 'instruvocal' of poetry blending seamlessly and stripped of voices, more melodic; a Celtic world-prog where sounds from elsewhere come to light in all delicacy. 'When the words fly away, the instruments teach a more universal language', says.

Breton 'Antre' for the alpha intro, on an ethereal, dark melancholic guitar arpeggio. 'Cheñch' on a dreamlike declension with spleen unresolved of hope; distant oriental musical space; harp, violin giving all its power, Huong bringing astonishing Japanese tessitura to OLDFIELD; the final sax associated with the electric choirs. 'Kraozon' Turkish text on the history of the peninsula with Celtic flute; voices mingle urging to leave for Ireland, the mysterious Ottoman Empire; hovering,world. 'Odisea' Asian moment with vocal lulled by spleen, punctuated by the controlled rage of a flamenco guitar; KITARO in sight. 'The middle path' Buddhist approach quickly broken by a surge where the violin brings power and dreamlike; a meditation path with trumpet, flute and accordion for a heavy mid-climb; the languorous piano arpeggio and bewitching clarinet sound like on IONA. 'Brems' brake in Norwegian of course...searching with deep and mysterious Nyckelharpa drops; a harp à la VOLLENWEIDER; the vocal integration has nothing to do with the strident one on the 'albatross', an obvious plus.

'Herzel' harp cradling airy, tribal air; Crystalline arpeggio of Andalusian guitars and choirs in the distance for an ephemeral joust with musical themes of world contemplation and its dreamlike end. 'Contrary Winds' monolithic pad bringing the haunting flute on an Asian tune and the sub-Saharan-Japanese voice, astonishing like the nervous guitar solo. 'NeŞeli' joyful in Turkish for a metronomic variation where the instruments magnify the aerial vocal contribution mystical and soothing. 'Breathe' rhythmic air in crescendo, like a hymn between wisdom and restrained brutality, like a hot breath of the desert. 'L'ombre de Féng' Japanese air mainly due to the bamboo flute and this harp which refers to the great KITAJIMA; the soothing, invigorating drum; long piece which passes quickly before the flamboyant finale on the sax. 'Klozañ' Celtic harp and celestial voice which can make think of Loreena McKENNITT in her particular drifts to close the album.

SEVEN REIZH has released a compendium of music from the Celtic to the Eastern world, without lyrics so as not to irritate and give a more pronounced melodic meaning. Claude Mignon because he is the creator has triturated 12 titles from his 2 old albums to make a melting pot where the traditional instrumentation brings strength and solemnity; a sound from here and there pure, calm, ethereal, with mixed folkloric atmospheres which shows that a musical gathering can be viable and advantageous, snub to the world in which we live. The choral voices and the instrument such as the nyckelharpa open the musical chakras like an endless wave. SEVEN REIZH shows that reworked simple compositions can be bewitching again, that's not bad enough.