REJOICE!

Maestro Frédéric L'Epée, accompanied (among others) by the great Carla Kihlstedt, have given us this 2024 one of the best works that can be heard in the avant-prog genre.

Beastly counterpoint between 2 guitars, very much in the style of KC but which are only bases on which the band has to deploy choruses and arrangements that completely separate their sound from that of the immortal Crimsonians.

Even the calm songs are covered with beautiful arrangements that give them an aura of mystery and a certain ceremonious darkness that serve as a momentary haven within an album that successfully goes back and forth between several progressive subgenres, under the direction of that genius called Frédéric L'Epée ...

Exquisite and unmissable listening!!

It is only two years since Frédéric L'Epée (guitars, synth, chorus), Laurent James (guitars, chorus), Nico Gomez (bass, chorus), and Volodia Brice (drums) released their last album, 'Designed for Disaster', which makes their fifth album the fastest to follow another yet. That might have something to do with the review of that release which Frédéric read where it was compared to America's Sleepytime Gorilla Museum. That led him on a voyage of discovery as that band was new to him, and he realised their singer, Carla Kihlstedt, would be perfect for the work they were doing so he invited her to take on lead vocals. He found himself writing with her voice in mind and providing lyrics with meanings as he wanted her to be driven by them the same way he was.

There is no doubt that many will think of Yang as followers of King Crimson, and their complex, syncopated and polyrhythmic guitars certainly brings to mind Fripp, but only in the sense that they are incredibly experimental and inventive and need immense skill to be able to provide the musicality and melody which turns these into more than just complex finger exercises. The five songs (out of thirteen) which contain vocals feel different to the rest of the album just because the focus is in a different place, but there is no doubt they belong here, and it is difficult for me to say which style I prefer, but the instrumental "Concretion" is very special indeed and at 7:25 is just way too short. This is my first exposure to this French avant progressive outfit but I can see I need to seek out of the rest of their albums as this is very special indeed.

1. Step Inside intro intriguing, from the FRIPP period 'Discipline' inside, from the TALKING HEADS for a heady musical mantra; it becomes jazzy, it rises, it gallops and it is finally catchy on an explosive, fruity bossa nova rhythm 2. La Quatrième Mort/La Vie Lumineuse starts on a melancholic nursery rhyme... of all beauty, amplified by the suave voice of Carla from SLEEPYTIME GORILLA MUSEUM. Scattered notes that flow like an endless torrent; the variation both jazzy and on the bucolic territories of the GENESIS of yesteryear with the plaintive voice and the archaic piano, 3. Concretion with this guitar, the sound of inimitable Frédéric, flirting on a frippian riff that sends on warm and dark progressive territories, musical dichotomy of having thus two opposites that associate pleasantly; the sound becomes more fluid on a hackettian arpeggio, yes we are surfing on the reminiscences of the great Dinos there; in short the surprise is big given their heavy prog label not updated! 4. Get Lost is the song that stuck me, word written at random; a fusion between the voice and the instrument, a mantra, a catchy melody that transports you right away. A musical Nirvana, yes I dare; there is a zest of the best BJORK, hints of recent MEER, there is this divine rise that escapes the drawers of comparison; it is beautiful, captivating 5. Fire and Ashes for the cinematic intro, the current fashion; as if we were entering a recording studio at the time of the adjustments; the discordant sound goes on a heavy rock vocal, ah finally there; the hint of MAGMA in the distance; the sound juggles while descending on a minimal tempo, hypnotic before resuming its desperate cry; the final variation on an aggressive sound out of tune again with cello, imaginary or real, which tenses, yes the wink with the mythical piece of KING CRIMSON comes back to me in full face, polyrhythmic string pinches. The dreamlike crescendo soft and violent at the same time, oxymoronic 6. Entanglement not that of GENESIS; the voice in French surprises positively, soft, plaintive, evocative; the handover with the language of Albion did not mark me, I understand English now? The guitar wants to be playful, the tribal, medieval percussions add to the folk climate; strange and admirable. Think about taking a break.

7. Light as a Cloud arrives, softness of syncopated notes accompanied by a crystal guitar arpeggio; an innocuous piece which unrolls and rests the ear 8. Rejoice! and the return of the voice, and the sounds again aggressive, crimsonian in the search for the avant- garde not necessarily taken at its best; jazzy drift, zappaesque, a bit of RIO, everything goes in this strange piece where the raw side of the voice floats near the shadow of frippian guitar 9. Berceuse for the Guilty latent intro, dark, chamber music where the percussions come to the fore; air of wandering on the typical guitar, relaxing 10. Strange Particles ah yes the riff of a simple and effective KING CRIMSON is not far, metronomic. The idea of ​​a journey on jazzy lands, electric gypsy, on redundant notes, moment when the length of the album begins to become clear; do not hesitate to cut the listening in fact; note the effective work of Nico which allows to weld the framework and prevent the sound from going a little too much in all directions. 11. Surrender with a male voice, which one? A RIO track with repetitive frippian guitar with a bit of ART ZOYD in the distance, I'll have to listen to it again 12. We are Heralds bis répétita, 'Discipline' era we agree with the work of David SYLVIAN; the sound becomes heady if not mantranic like at the beginning of the album; come on a bit of South America to make you dream in the final climb 13. The Final Day ah for the end and a long vocal mantra to close, a long orchestral variation rhythmic like potpourri and fireworks; it's soft then aggressive, never metal or heavy, just syncopated with guitar arpeggio beaches to rest the ears. The finale with the Charisma sound and the captivating organ gives a spice that was starting to be missing on the previous tracks; a long track that allows you to come back from this singular musical maze. Originally on Planète Prog.

Guitarist Frederic L'Epee has had quite the career playing in that Robert Fripp style over the last 50 years. Whether he's playing in that angular style or combining with another lead guitarist to create some "Discipline" styled interlocking guitar bits, he clearly has been influenced greatly by KING CRIMSON. He started out with SHYLOCK in the second half of the seventies, and both albums they released are classics in my opinion. I would consider that second release "Ile De Fievre" from 1978 as a top three when it comes to Frederic's miusic.

After SHYLOCK folded, Frederic created a band called PHILHARMONIE, and their final release from '98 "Le Dernier Mot" is another top three for me when it comes to Frederic's recordings. When that band broke up he then created YANG, which has lasted the longest(20years!). And it's their debut called "A Complex Nature" that would be my final top three from L'Epee's recordings. All of his music up until this 2024 release called "Rejoice!" have been in a very similar style. You know what your going to get in other words. Until now.

This came well advertised that YANG had turned from being almost an all instrumental band to being a vocal led band. Of the 13 tracks, 10 have vocals. It's really surprising to see lyrics, and a lot of them in a YANG liner notes. They brought in Carla Kihlstedt from SLEEPYTIME GORILLA MUSEUM to be the main singer. Laurent James, the second guitarist also adds vocals. He's not really a singer, but it works. Other than their debut which I mentioned is my favourite, they have had a steady lineup with no changes. That debut featured a different rhythm section. This is a long one at 79 minutes, so when it comes advertised as being a grower, I knew I had my work cut out for me.

Frederic composed all the music and wrote all the lyrics. I feel like he composed differently on this one as a result of the focus on the lyrics. He said he composed with Carla's voice in mind. I have yet to warm up to this one. I know I'm not the only L'Epee fan to say this. This is different. It will be interesting to see if they continue to be a vocal led band now going forward. There's so much to enjoy here, but man I'm so on the fence with most of the music here. Like others, I have to mention the first instrumental "Concretion" as being a favourite. It reminded me of RUSH early on for it's power which is contrasted nicely with the more relaxed sections.

The title track deserves a mention, but more for the lyrics which I think are pretty cool. Man are those synth guitars on "We Are Heralds"? It sounds so much like "Discipline". I like the instrumental section to end it. I'm not big on the guitar style on "Light As A Cloud". Reggae comes to mind. And how about "Fire And Ashes" which sounds like a CARDIACS cover. I will admit to feeling like Carla's vocal style is an acquired taste. I mean she comes from an Avant band and often sings in that style which I'm not into. So those first two tracks were telling for me with those vocals. Which is probably why the instrumental "Concretion" at track three stood out so much.

I knew this was a risk, in fact I changed my mind about getting this a few times. Thanks for all the amazing music Fred! You've had quite the career following in Fripp's shadow. But this is where I get off.