HALLOWEEN

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.

Neck in neck with the British neo-prog scene, the French band HALLOWEEN obviously had its pulse on its cousins across the English Channel given that it was situated in the city of Brest on the far western tip of Brittany. The band was founded in 1983 and proved to be one of the 80s most promising prog rock bands but didn't release this debut PART ONE until late in the game in the years of 1988. The band produced a sensual symphonic prog sound that sounds like a mix of the homegrown Ange and the other French act Pulsar, whose beloved album of 1977 provided the inspiration for a moniker.

While not quite as accomplished as the band's most lauded work, the third album titled "Merlin," PART ONE showcases the talents of Gilles Coppin (keyboards, vocals), Jean-Philippe Brun (violin, guitar, bass, vocals) and Thierry Gillet (drums) finding their sound out of the Pulsar playbook and leading things in a new direction. The Ange influences come in with the dramatic theatrical vocals and the album adds a bit of gypsy swing with the occasional outburst of the violin that also adds some seriously scary screeches. Much more assertive than the aforementioned influences, HALLOWEEN had no problem rocking out with a more bombastic guitar heft albeit always pacified by a menagerie of synthesized counterpoints and a vocalist who's not sure if English is the language de jour or the homegrown variety of French. Most of all part one excels in moody often turbulent atmospheres that allow the guitar, bass and drum attacks to sneak around and the music is often mysterious and foreboding with the occasional spoken word dialogue to give a sense of epic grandeur.

For the neo-prog comparisons, there are often Marillion type constructs that add a sense of dramatic rock moments with the vocals imitating the great Fish along with the expected keyboard heft and bouncy bass lines and sailing guitar riffs. This is particularly true of the track "Halloween" which always makes me wonder why a band would name a song after its own name but not as uncommon as one would think (uh, Iron Maiden!). The compositions have a complexity that make this a true proggy discourse and in the end everything about PART ONE is excited quite well save a few of the vocal parts that sound a little ragged.

Generally speaking HALLOWEEN did a pretty good job at crafting a decent 80s prog album that took the symphonic touches of the UK's neo-prog scene and blended them with the homegrown sounds of Ange and Pulsar but in the end the band doesn't come off as very original wearing its influences a bit too clearly on its sleeves. This is indeed a worthy listening experience but it doesn't really deliver any tracks that knock your socks off either. While the band would reserve its pinnacle prowess for the third album "Merlin," PART ONE is certainly no debut to be ashamed of and in fact in the right mood this will scratch that symphonic prog itch big time.

3.5 stars rounded down

1989 and Halloween arose as a regular band with the addition of Philippe Di Faostino on drums in the place of Thierry Gillet and Yann Honoré on bass.They entered again the Studio Bleu in Bevern to record their sophomore album ''Laz''.This time though the producer was Francis Grosse, the boss of Musea Records.Originally the album was released in 1990 in LP format, followed by a CD reissue 4 years later with the extra track ''Suburb'', coming from the same sessions of the original album's recordings.

The formula used was about the same with ''Part one'', a challenging, deeply atmospheric Symphonic Rock with light Fusion overtones and plenty of dramatic moments, either offered through the irritating violin plays of Jean-Philippe Brun or the orchestral choirs and keyboards of Gilles Coppin, particularly strengthened by some theatrical vocal lines.Play by play Halloween start to remind of the more haunting and occult French Symphonic Rock groups like SHYLOCK, ATOLL or CARPE DIEM, though their sound suffers from this 80's-styled production and the heavy use of synthesizers.The first side of the album is the strongest with a couple of impressive, rich and powerful tracks full of violin moves, soaring synthesizers and deep orchestrations, having a depressive and haunting atmosphere.The second side is a bit excessive and largely instrumental, based more on atonal textures and experimental synthesizers, flirting at moments with Avant-Prog, although there are still moments of pure pleasure with the soaring violins, the Classical interludes and the bombastic rhythm section in the forefront.Unfortunately a few moments appear to be rather uninspired with long instrumental but quite monotonous movements as in the pale ''Blue Nightmare''.

The good thing with ''Laz'' is that the moments of interest are too interesting to surpass the album.It sounds a bit uneven and too ambitious for its own good, but this is very original and often trully captivating music.Recommended.

In my opinion this is HALLOWEEN's best album and one i'd certainly recommend to anyone wanting to check out their sound. The Gnosis site also rates this one the highest of their four studio albums. It's interesting that every issue that I had with the previous album "Merlin" has been addressed here.The Classical flavour is all but gone, this is a much more powerful album and the female singer takes an even greater role over the male vocalist.This was a pleasure.

"L'autre" is fairly relaxed wih female vocals, drums, violin and more. Synths come in in place of the violin. It kicks in suddenly before 3 1/2 minutes. Nice.This instrumental section is incredible. It settles back late with reserved female vocals to end it. "Le Retour Du Bouffon" builds as male spoken words join in. It starts to pick up after 2 minutes with vocals and violin as that powerful sound continues. It settles right down before 4 minutes with a beat then it builds again. A nice heavy sound is the result 5 minutes in.

"Neurotic" opens with piano as reserved female vocals (English) come in.Violin then drums follow as it gets fuller. It settles back.This is dark with vocals. Piano only before 4 1/2 minutes then spoken words and violin join in to end it. "Sheherazade" begins with a beat and intricate guitar. Some atmosphere joins in until that's all we hear. Vocals and percussion then lead before it turns heavier. Spoken words and an urgent mood before it kicks back in before 7 minutes.The violin rips it up after 8 minutes followed by a calm. It picks back up late. "Come" has these almost spoken male and female vocals followed by violin. It gets heavier and the violin starts to light it up.

"Araignee" opens with laid back keys and bass as relaxed female vocals join in. "Le Festin" has this intense atmosphere with powerful spoken male vocals. Female vocals take over then it picks up before 2 1/2 minutes. A little dissonance before 4 minutes then it kicks in heavily with guitar and drums.This is amazing ! It becomes mellow before 7 minutes with vocals. "Carnage" is probably my least favourite although I really like that intro with drums. It picks up after a minute with spoken male vocals. It changes before 3 minutes and eventually synths and drums dominate. Guitar 5 minutes in and the violin.

A very solid album and worthy of that 4 star rating.

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.

One of hidden secrets of the 80's prog rock scene lies in France,named HALLOWEEN.They were formed in Brest in 1983 by five musicans,among them were drummer Thierry Gillet and keyboardist Gilles Coppin.They were soon joined by violinist Jean-Philippe Brun,but this sextet was not meant to be.By 1987 HALLOWEEN reformed as a trio featuring only Gillet,Coppin and Brun on the line-up.So Coppin handled also the vocal section along with Brun,who also took over the guitars and bass next to his violin.The trio recorded the album ''Part one'' to be released originally on Musea in 1988,while in the 1994 re-issue two live tracks were also added.

STYLE: As guitars and bass were not Brun's main instruments it is reasonable the album to be heavily based on keys,pianos and violins.While one expects ''Part one'' to sound deeply symphonic for this reason,that's only partly true.The album has a mysterious atmosphere in the instrumental parts,dominated by dark synths,violin passages and in a second role come the surrounding guitars.There is also heavy doses of lonely pianos in this album.There is an attractive blending between atmospheric parts based on guitar solos and symphonic synths and more complicated material with some great breaks,which make the album quite personal.Strangely, vocals come in English (except for Jester's dance) with some French spoken pats next to the sung lines.

INFLUENCES/SOUNDS LIKE: Hard to compare,the album ranges from Dark Prog to Symphonic Rock with a theatrical taste.So if you combine the violin-based KING CRIMSON motives with some ANGE thetrical taste and some JACULA's dark atmospheres,the picture is about to be completed.

PLUS: The overall atmosphere sets the listener into the general mood quite easily.Despite not being a guitarist,Brun delivers some really interesting solos.The violin work holds a lot of Classical influences and is very well executed.Most of the keyboard work is also quite exciting.I find the theatrical side of the band to be among the best to be heard around.

MINUS: Vocals are not that good,although non-accented.The production is also weak with lots of uneven parts.Keyboards sound very plastic and cold at times.Why I have a feeling that this album would be much better if lyrics were delivered in French?

WILL APPEAL TO:...Fans of the darker side of prog,anyone into Theatrical Prog nostalgia and of course lovers of symphonic keys.

CONCLUSION: Clever enough,HALLOWEEN placed the disadvantage of not having a gifted bassist or guitarist aside by basing their sound on a fascinating atmosphere which I loved on first sight.The year of the release makes the album even more worth owning,yet the vocal section holds the album a step back among my first preferences regarding the 80's.Warmly recommended,''Part one'' deserves no less than 3.5 stars.

The French symphonic prog scene is not like any other symphonic prog scene. This is why I regard this scene as one entity, far remote from any other scene.

The most important difference between this scene and the scene in England & anywhere else is the French scene's operatic, melodramatic type of symphonic prog. Ange is the most typical example of this scene and the forerunners of this scene. Halloween is not far behind on this, their debut album though.

The music on this album is concept based melodramatic music with long guitar solos, some both spoken and somehow melodic sung vocals, violin and tonnes of keyboards. It feels like this is scene or film music to an extent. The music is pretty dark and so is the vibe here.

The quality of the music is good throughout. But this album is never breaking sweat and it never takes of into greatness. The sung vocals are pretty sub standard, but the rest of the band is OK. This is a concept album which does not click into gear. But it is a good album nevertheless.

3 stars (barely)

The French symphonic-weird, highly creative HALLOWEEN dares to output in 1989 powerful awesome musical ideas and vocals with "Laz". Maybe for PULSAR, VDGG, or KC fans, the inventiveness can be better enjoyed (and by prog heads that do not believe "it was impossible to release outstanding prog in the eighties").

Gile Coppin (sinth and vocals) and Brun (violin, guitar and vocals) compositions borrowed to the lyrics H. P. Lovecraft weird fiction poems. Maybe because of this mood, "Laz" can annoy some. As their debut album gets good rating, I can only say I like very much BOTH HALLOWEEN first albums. But the 3rd "Merlin" (**) is missing links. I agree with Fishy review when he says "Laz" " turned out to be a far more ambitious project than the debut album."

If you consider "Laz" lyrics kind of trash horror bizarre comedy, you may not creep. As I'm not English speaker, I can focus on the music. To me this is a prog dream album, "Iron Mickey" is an incredible instrumental composition; "Waltz" and "Laz" are superb. I remember I was present at by 1991 in a reunion with about 10 progheads to enjoy some music, where these tracks (plus EZRA WINSTON "ancient afternoons"- 1990 *****) were played and some guys got desperate wanting to know what incredible band were playing ?!

"Blue Nightmare" shows a more experimental with virtuoso drums by Di Faostino. The "just for you" shows that Honoré is a tremendous bass player (fretless). The bonus "suburb" is at 1st album vein with theatrical French lyrics and "Yule Horror" is the only track that remind an horror soundtrack. The keyboards work are great to create atmospheres and walls to the incredible violin solos. My only critic is that I miss more killer synth solos like the one in "laz" track.

If you like or is curious about Halloween (or even if you don't), Ezra Winston, Kerrs Pink, Rousseau, North Star, Vermilion Sands, these bands composed especially for "Seven Days of a Life" MUSEA team concept CD : the cycle of the journey through Life. The result is GREAT, believe this cosmopolitan project woks ! "Seven Days of a Life" is a ****1/2;1993 CD with only unpublished material, except the SAGRADO "the central sun of universe" which was also composed to this CD, but due to long delay was allowed to appears at SAGRADO 1991 3rd CD (the project idea was old but only saw the light of day in 1993) . The Halloween contribution for this concept is called "march" and runs 9:30. Please, take a look at my "Seven Days of a Life" review.

This French band has already released three albums and they produced very weird music. Very dark, intriguing and scary. Almost each of them could have been a soundtrack for some sort of horror movie, really.

This one is no exception. As soon as the opening number starts, you are brought into an extremely gloomy atmosphere. Vocals also add to the feeling. This time, it is an almost childish female timber which conveys the scary side. The use of violin is extensive on this album and if one would believe that it could bring some sort of joyful feeling: just forget it. It only adds to the flavour.

This album is a long descent into darkness. Lyrics are terribly bizarre as well (most of them are sung in French). One of weirdest of all is certainly Le Retour Du Bouffon. Very much Ange oriented in terms of vocals and theme (it plunges us into the medieval world). It is actually a re-work of Jester's Dance which was available on their debut album, but with other lyrics.

Some English lyrics for Neurotic, but no change of direction here. The frightening doesn't stop (but will it ever do so with Halloween). Even if there was a seven years period of hiatus between this album and their previous one; their ideas and style haven't changed.

The oppressive atmosphere is going on with the Middle-Eastern Sheherazade. I guess that with such a title, it is all too normal. Don't expect a sweet cover from the great Renaissance song. You won't get the same treat here. Only the title and the quality of the songs have something to share. Needless to say that Coma is of same calibre. Again, the Crimson atmosphere is highly felt.

Actually, I wouldn't recommend to listen to the four albums from this band on a row. You could be so terrorized than you wouldn't want to be never left alone.

Le Festin is also quite Ange oriented in terms of lyrics. A description of a medieval feast. The music is typically Crimsonian: complex and tortured. Especially the beautiful and chaotic guitar. Explosive! It is my favourite song from this album. Bon appétit, mes amis! This is how the song closes.

The closing number Carnage (which means slaughter, what a programme!) is almost a normal song! It features Banks oriented synths and a jazzy mood.

In all, this is a good album from skilled musicians. Géraldine Le Coq has a very special voice as well and she perfectly fits into the spectre. The minus point would be that the listener could be tired with so much gloom. But I have had the same feeling with their two prior releases. The complexity of this album could have placed it perfectly in the eclectic genre.

Three stars.

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.