WHERE IDEAL AND DENIAL COLLIDE

A debut album with a title like that will definitely get the Rogue's attention, and as transatlantic telepathic waves often work well, the band contacted this writer for a review of their impending release. Oddleaf has been working on this work for over 4 years, a courageous form of dedication, as the first album can be quite a challenge in breaking through the competition with a new twist to the vast panorama of styles that Prog can offer. Keyboardist whiz Carina Taurer and Mathieu Rossi on flute /electronic flute performed their due diligence by playing mostly medieval music for a decade and deciding to plunge into a Progressive rock project that fit their vision. Filling out the group, Olivier Orlando handles both bass and guitars, with drummer Clement Curaudeau and vocalist Adeline Gurtner completing the line-up. The Oddleaf sound is a melange of styles, ranging from the bombastic to the pastoral, with a focus on mostly ecological themes.

A piano and flute introduction sets the mood right from the start on "The Eternal Tree", with a whooshing mellotron blast to sizzle the senses, some electronic flute branches and a sense of adventure that blends gingerly into the nearly 12 minute long epic "Life". The lead vocalist glides into the busy arrangement with a newborn gentleness that does not fail to impress, a sudden organ rush thrilling the ears as it chops through the booming rhythmic forest of sounds from the guitars, bass and drums. Mathieu Rossi reintroduces his electronic version of the fabled silver instrument into the mix, which evolves quickly into an absolute whirlwind tour de force that slams fiercely and then veers back into more idyllic shades where the acoustic guitar and flute rule (always a genius combination).

The chorale breeze finally scours the horizon as the cycle nears it natural end, as the flute hushes its long last breath. Such is life, enjoy while it lasts! The rustic meanderings on "Ethereal Melodies" announce the softer side of the band's muse, with the piano and flute swaying in feudal-tinged joyfulness, the tempo raising when the chorus kicks in with quite the sonic elevation, thanks to the massed male and female backing voices. The uplifting centerpiece melody is breathtaking, the denouement never predictable but effortlessly accessible. Olivier Orlando unleashes a grizzly-bear guitar rant that reverberates with passionate glee. The synthesizer flutter outro is priceless.

The colossal 14 minute + epic is next, as "Back in Time" tackles the core essence of what this French band seeks to achieve, a perfectly balanced style that incorporates all the elements that are found in the vast panorama of sounds that prog has to offer, with controlled restraint in building up the tension. A decidedly Middle Ages feel is presented, the bass carving hard in the undergrowth near the moat, the trilling flutes and quavering synths dancing the gavotte, the burning organ thrashing the banquet hall, torches aglow, a merry time being had by all. Back in time, seeking refuge in your childhood, and believing in fairy tales, indeed! As far as adventurous spirit goes, this is quite the number! The ornate piano and pied-piper flute lead the way, through the drawbridge as the booming bass guitar faces the dragons head on. Carina ravages her keyboards with heroic ardour, the intense rhythm never far from "endiablee"! A tremendous slice of prog, I giggle in nervous enjoyment?.

A slight intermezzo with the habitual "Prelude" before leaping headfirst into battle on the implacable fury of "Coexistence -Part1", opening up with smoking hot mellotron cavalrymen, knighted guitar lances, bass bombards hurling cannon balls into the fray, synthesized archers invading the sky with their deadly arrows and the organ- drenched war flags aimed at the enemy. Coexistence? Pas tout de suite! The skirmish dies down and the solemn aftermath is expressed by a solitary flute hovering over the ravaged plain, the consequences of human folly overtly depicted by a dissonant cacophony of angry blasts from all of the instrumental interveners. This was the piece that confirmed my delight with this incredible debut, as the themes are rigorously illustrated, reigniting the prologue mellotron tempest, an instrumental 'chef d'oeuvre' that should conquer many hearts and minds among the prog troubadours, minstrels, raconteurs and even the odd 'jongleurs'.

4.5 Bizarre plants

Originally written for theprogmind.com

9/10

I get overly excited when I find a new band that really jives with me. I was contacted about the debut Oddleaf album recently, and I have fallen head over heels for this record. It's called Where Ideal and Denial Collide, and it releases October 11th.

Oddleaf hail from France. I was taken immediately by their fantastic cover art and overall sense of production value, which often isn't the case with debut albums. The lineup here is Carina Taurer on composition, keys, and backing vocals; Adeline Gurtner on vocals; Olivier Orlando on bass and guitar; Mathieu Rossi on flute; and Clément Curaudeau on drums.

Here's why I like this band so much. They have something of a retro progressive rock sound, but instead of sounding like Yes or Genesis, they take inspiration from some of the unsung heroes of the genre, such as Renaissance and Camel. Their music is, I daresay, a witchy and folk-leaning style of prog rock with hints of Big Big Train's pastoral side, while also sounding quite infectious and dark along the lines of Mostly Autumn and early White Willow.

There's just something about the mysterious shadows at play in this album that grabs hold of me. I love how bright and crystal-clear the vocals are, and how some songs come off as quirky, interesting, and even a bit strange. You will hear lots of flute, which is a major highlight for me, plus Mellotron and Hammond organ.

It isn't just these nostalgic sounds that make their music great. The songwriting is simply superb and whimsical in all the best ways. Honestly, if I were to compare them to a modern band, it would be Cuba's Anima Mundi. In fact, Carina's keyboard style has all the same flare and drama of Virginia Peraza's, who happens to be one of my favorite keyboardists. The music, then, is mystical, colorful, and imaginative, and the songwriting really sells those aspects.

The album is around 47 minutes long, but it feels shorter, honestly. This album flows by in such character and atmosphere that you'll want to put it on again immediately. There are six tracks, two of which are instrumental and transitional in style, but they are incredibly effective. The opener "The Eternal Tree" is only 2 minutes long, but in those precious seconds, we are introduced to the wonder and whimsy of the band, and also a sense of anticipation and cinema. It's amazing.

The next song is "Life", a piece with potent synth at its core, and with plenty of flute and keyboard madness to satisfy any prog head. I love how it transitions between delicate, ambient portions and fabulous chaos. The single comes next, called "Ethereal Melodies", and it is an instant favorite. The vocal lines are incredibly warm and infectious, evoking Karen Carpenter at times, and the excellent guitar solo near the end really gets things moving.

The second half of the album is even better. "Back in Time" is a 14-minute monster with some fantastic instrumental portions and even some funky grooves that always put a smile on my face. I should note that the flute performance on this song is particularly amazing. "Prelude" is next, being a one-minute piece that is basically synth ambience, and I love the aura it brings. The closer "Coexistence, Part 1" is probably my favorite on the album. This piece is about 11 minutes long, and it packs in so many shadows and mysteries into that runtime. I love the piano and the bold, intense synth work in the second part (really reminding me of Anima Mundi). The song, like the album, has constant celestial qualities that are truly beautiful.

Oddleaf should make a big splash with their debut, if there is any justice in the world. Where Ideal and Denial Collide is staggeringly gorgeous at times and quirky and nostalgic in others; it feels masterfully sewn together with excellent lyrics and introspective melodies. Their inspirations are many, but their sound is their own, and I think this first offering will prove to be memorable for me.