DESTINATIONS

Like many among seasoned prog writers, the Rogue has compiled over the last half century (time flies) a colossal collection that is comprised of MOST of the top 2 tiers in terms of fame, which should not be surprising. But what may be shocking for some, is that there are some lesser-known artists who figure very high on the list of favourites, owning all of their recordings, yet pretty much unknown or relative only to a few cognoscenti. Here are a few, off the top of my head: CAP, Logos, Daal, The Rome Pro(g)ject and Inner Prospekt from Italy, Albion (Poland), Rick Miller (Canada), Brits Galahad, Dave Bainbridge and Colin Masson, All India Radio (Australia) and Seven Reizh as well as Patrick Broguière (France). The latter is the focus of this review, as Patrick's music has a personal effect on me that I cannot and would not even care to try to analyze or comprehend why. Its just THERE! Ever since his consummate 1998 "Mont St-Michel" masterpiece, I have deeply adored his style and talent, through "Chateaux de la Loire" (2000), and last year's phenomenal return after 23 years of silence "A Secret World". There is something undefinable that has surely something to do with my French schooling (which explains the fascination for Broceliande, Museums, Mont St-Michel, Loire Castles etc?) as well as a lifelong love for medieval and baroque forms of music. Patrick infuses all kinds of various elements that, much like Mike Oldfield's work, has me smiling note for note, tracks by track and album by album. So, I am unashamed to announce that I remain a huge fan of this immense talent and elated beyond words of receiving this immediate follow up to last year's release. "Destinations" is dedicated to his father, a most honourable human tradition of celebrating a parent who surely may formatted a child's character and perhaps even taught many a lesson. Once again, the artwork is off the charts, continuing the long partnership with Hervé Thibon, as Patrick handles all the instruments and enlists the help of a bevvy a talented vocalists to complete his musical vision.

Launching a stunning 10-minute epic is what one can discover on "The Land of Elves ", a magical (Pat is into magic), lively, unpretentious and entertaining dive into his new creation. With Laura Ausensi's lovely high-pitched vocalizing, a string-driven motif provides a bucolic, sunshiny feel that can only make on smile with admiration. The majestic main theme is interspersed by a variety of returning segments, brief yet evolving powerfully, with Patrick unleashing a spiralling electric guitar incursion that adds spark and sizzle to the warm fire. The subsequent piano section suggests a more romantic ornamentation that will enchant those who enjoy the black and white keys. Adding background symphonic strings and choir only elevates this to a loftier realm. The return to the opening vocal expression, now combined with all the bells and whistles is just heavenly.

I must admit, after only 2 spins, "Rockland" is my top contender for track of the year, owner of a concussive electric guitar riff that swats flies as a second job, a percussive assault on the senses, only to be overtaken by a Gregorian female/male vocal duet (Celica Soldream and Victor Sordo) that grabs the jugular as well as the heartstrings, catching me warbling the main (and haunting) 8-minute-long melody for hours on end. Simply gorgeous, words fail me, I have attached the video for you to fully see and hear this jewel. These 2 opening gems will be given a shorter 'radio edit' version as bonus tracks at the end of the set list.

Showcasing a unique ability to stretch out his compositions to suit his inspiration, the nearly 13 minute "Hyperion" seals the deal even though we are only 3 tracks into the album, maintaining a consistency that will stun many listeners. The overt medieval intonations are self-evident, laced with the sweet organ pattern and the reverberating cellos, synthesized vibraphone patches, and a clearly developing theme. A transition of electronic reflection shepherds in the soothing wailing voice of Conny Kollet, a church organ appearance that can only add grandeur and emotion to the subtleties expressed, as birds chirp away in the belfry. This style of chanting ('cantus gregorianus') makes my knees wobble and my heart melt into contented absolution. The futuristic insertion of an English language vocoder portion, contrasts brilliantly with the timeless Middle Ages sensibility of the central theme. Immaculate!

The acoustic troubadour opens up "Dreamland", infusing delicate piano colorations, gentle bass undertow and fluttering percussion to the mix, before Laura clutches the microphone for another tour de force vocal display. The delicate sound of warm winds caressing the soul, a carefree and liberated sense of wonder, ensconced in one's own introspective universe. The streaking electric guitar conjures up multiple puffs of fantasy, welcoming the listener to fairyland, a place where reality meets the imagination.

The colossal pipe organ greets both the sinners and the saints on "The Final Prophecy", the groundwork for stringed orchestrations that strive to raise the collective awareness, trumpeting an impending message that needs to be heard. The transitioning to piano-led exhortations is beguiling, as cinematographic an arrangement could be, a soundtrack to a movie in your mind, open to individual interpretation, yet guided by a divine spirit. Angelic bells, cathedral echoes, and celestial choir adorn this exquisite piece, soothing and yet overpowering.

Arid due to the broiling sun, "Desert Voices" offers a Saharan atmosphere of immense scope, with a bevvy of vocal sounds scouring the parched dunes, some Arabic-tinged, others spiritually infused with wailing deliverance. The acoustic guitar push the rhythmic pulse to explode in a polyrhythmic oasis of sound, palm trees swaying to the authority of the sirocco, as the caravan searches for a place to spend the night.

Closing off the proceedings in grand style (before getting to the afore mentioned bonus tracks) "Last Destination" shows the pathway to where the journey must end, as all human voyages have a terminus where, hopefully, peace and truth prevail. The compassionate piano and Conny Kollet's considerate wail provide all the solace one could possibly wish for, the windswept cellos and violas orchestrating the final resting place with sincere reverence and ultimate grace.

This new offering slides in succinctly right behind Mont St-Michel in terms of quality, and deserves the highest accolades from the prog community, so please support at: broguiere.bandcamp.com. You will not regret the Prog Rogue's suggestion! This terrific album will be surely in the top 5 for 2024. 5 terminals

WAS THIS MADE BY AI?!?!?!?! I partially listened to this album after reading a misleading, dare i say ridiculous review. The compositions are uninspired and flat, everything sounds like it could be AI generated. I didn't listen to the whole album because it doesn't sound like real music so i consider it a waste of time. I fast forwarded every song just to hear more and more absolutely boring, soulless material. This is, in my opinion, the absolute opposite of a masterpiece and one of the worst albums i've ever "heard". I won't even complete the 100 words... Booooooooo ooooooooo ooooooooo!

1. La Terre des Elfes 2024 and the sound of BROGUIERE has evolved, more metallic, less warm, more conventional; a first title that goes on many folk reminiscences to make you dream, finally try, it's a bit redundant with these overrated choirs that draw from the 80s; uh 40 years without real evolution? 2. Rockland changes air, rhythm, a nasty riff, Gregorian choirs of the ERA kind, well, a copy anyway with the return of these female choirs sprinkling the piece, yes in terms of choir we will be well into it in fact, and a well- made ersatz for those who have been locked up for 20-30 years in a cave, a facsimile for other listeners, yes important to point out this fact 3. Hyperion goes to the medieval era, with enthusiasm; ambient space break with choirs again, more creation finally, the voices start hard from the BREGOVIC of the more interesting 'time of the gypsies'; after divine clarification coming out of a cathedral, emphatic, a little electronics with vocoder flirting with KRAFTWERK and return of the medieval flute, string instruments, very good reminding me of the good intuitive progressive time.

4. Dreamland for the bewitching sound of the violin, finally credited under keyboard sampler; a beautiful bucolic ballad with phrasing vocals and the guitar smelling good of that of Mike OLDFIELD 5. The final prophecy with the intro in church organ, the touch of BROGUIERE of his titles of the beginning, printing creative musical energy; an air like Wally BADAROU very good organist also who found titles full of enthusiasm; the flute comes for a time to give more joy to this grandiloquent title on the emotional level; choirs and bells in the finale for a dynamic, catchy piece without remaining contemplative, his touch is still there! 6. Voix du désert with the typical intro, 100% oriental vocal validating the dark atmosphere of the start; opalescent keyboard layers then the world beat and the languid voice bring closer to the sounds of SEVEN REIZH; melancholy comes to light and falls back into the trap of the mishmash of repetition unfortunately; an average listener will find the album complimentary, a critic very good because he can't do better; a fan will find the repetition easy, superficial, in this world where creation has difficulty breaking through; redundant finale 7. Dernière destination haughty, solemn piano; piece highlighting the stylish vocal of the Maghreb on a Christian religious air, good intention here for the rapprochement of peoples; melancholic title with a divine wind for the austere, glacial, interesting fade 8. The land of the elves (Radio Edit) (to get to the point and make you forget the feeling of repetition of the original title 9. Rockland (Radio Edit) for the same remark, knowing that a radio edit in 2024 with what is played on the radio is just a tad laughable or mocking, choose. An album that brings nothing new, not sounding the mystical and embellishing side of its albums of yesteryear, lacking energy.