SETNA

It's been six years since their debut album "Cycle I" was released, an album I rate extremely high, in fact it's my number two album for 2007. There are a few changes on this one as Benoit Bugeia who was a guest on the debut is now a full-time member, and Nicolas Goulay a former member is now a guest. The female vocalist from the debut has been replaced by a male singer and Benoit Widemann guests on minimoog.

"Cycle II" is a three part suite beginning with light drums and fender rhodes in this laid back and jazzy intro. Some fuzzed out bass joins in then the vocals before 1 1/2 minutes. Love the distorted keys that bring Canterbury to mind. Some backing vocals as well later on in part I. The last two sections are gorgeous with those distorted keys with bass and drums standing out.

"Triptyque" is divided into three main themes and eight total parts. It begins with sounds coming and going and check out the minimoog as the synths sweep in the background. It settles back as the vocals arrive including some backing vocals. A calm with vocal melodies arrives in part III with drums and a wind instrument. I'm reminded of a mellower MAGMA when the vocals come to the fore. Fuzzed out bass late. The second main theme opens with liquid keys and atmosphere as haunting vocal melodies arrive. The guitar cries out ala Gilmour. It picks up some in part II of this suite and it sounds amazing. The vocals stop late in this part as we get organ-like sounds then flute. Beautiful. The third main theme is relaxed as vocal melodies arrive then it builds slowly.

The final main theme is called "Guerison" and is divided into four parts. Random drum patterns and atmosphere to start and it all settles down late in part I. Drums lead the way in part II as keys then vocals join in. Lots of minimoog and vocals before it settles back late in part II. Love the distorted keys in part III, very Canterbury-like. Vocals arrive during the final part but they stop halfway through as it settles.

I'm in the minority for sure in rating the debut higher than this one but I miss those female vocals and the atmosphere that was simply stunning. A very solid 4 stars.

Never before have I come across a French progressive album I feel comfortable listening to in the morning, right after I roll out of bed and begin the day's activities. Cycle I is the first.

I love music all times of dayl, but morning can be my favorite time to listen. The album I pick can set the tone for the rest of the day - usually I try to pick something less heavy, like background music. Thus far, Celeste's 1976 eponymous debut and Gong's much-maligned "Rubber Riff" are the only progressive albums in my morning list of favorites. If you consider John Renbourn progressive, his "The Guitar of John Renbourn" is at the top of this list.

If you're looking for a dynamic, heavy workout, this probably isn't the album for you, as noted by the reviews for the record. Small segments have quick tempo with furious exchange - the translation "From Darkness to Consciousness" reveals the purpose of the album, and the soundscapes are dark but not ominous, serious but not sinister. Light female voice adds colors to the songs as well as sax.

A classic in my collection, but I can see how other prog fans don't care for the sound.

The Zeuhl tradition of French groups continued in the recent years with bands like Setna, practically formed during a night of the year 2001 at the "Beteau Ivre" in Rouen, when the original members Nicolas Cande (drums), Christophe Blondel (bass), Florent Gac (electric piano) and Nicolas Goulay (keyboards) were jamming on stage.The official formation though dates in 2004, when Sylvain Gand'rio joined the band on vocals.After some live concerts, mainly in Jazz festivals, Setna reappeared as a sextet in 2006 with Natacha Jouet replacing Gand'rio and Guillaume Laurent joining the rest on soprano sax.The first album of the band ''Cycle I'' was recorded at the Gare Aux Musiques Studio, featuring Magma's guitarist James Mc Gaw and Benoit Bugeia on electric piano as guest musicians.It was released in early 2008 on Soleil Zeuhl.

Setna's style focuses on the softer side of Zeuhl with strong Jazz hints and minimalistic rock practices.They come close to the ethereal sound of AD VITAM, building their musical ideas on dreamy female voices, smooth sax lines and laid-back electric piano.The music is mellow, at moments melancholic and even obtains a nice, poetic underline due to the crystalline chords of Natacha Jouet, but what should be an advantage for the band becomes its own flaw during the process.This work rarely takes off the ground, insisting constantly on somber textures and relaxing jazzy soundscapes, which could have been easily described as Lounge Jazz, delivering a number of tracks with the same atmosphere and reasonably some strong similarities due to the soft instrumental executions.Some more dynamics were desperately needed, the beautiful electric piano, the lyrical tension and the efficient bass work are all welcome and nicely performed, but the album lacks in energy and noise.The later tracks fortunately contain a fair amount of them, offered either by James Mc Gaw's guitar plays or the more uptempo textures and the more evident presence of some nervous Moog synthesizers, which build a nice dual performance with the electric piano.This is exactly when the French band recalls COS' ethereal but still complex and intricate sound on albums like ''Viva boma'' or ''Babel''.

Second half of ''Cycle I'' appears to be much better than the soft, slightly depressive first one, as a whole though this is a rather uneven album and a band, which will propably satisfy the closed circle of Zeuhl and Jazz fans...2.5 stars.

Setna prove that their command of fusion-oriented zeuhl (laced with a little Canterbury) on Cycle I was no mere fluke with Guérison, a more than competent followup which finds them focusing more intently on longer compositions. (Indeed, if you count the separate parts of Triptyque as being a single song the shortest piece on here is Cycle II, which is nearly 10 minutes long). Far from being an excuse for meaningless instrumental noodling, the band demonstrate their superior command of the subgenre, clearly drawing on the work of the likes of Magma without feeling bound to stick solely to the Magma aesthetic.

Imagine the most hypnotic Zeuhl grooves that Magma has ever given us, blend it with the accumulated best Canterbury instrumentation that any of Dave Stewart's bands ever gave us, arrange it all with the most positive, uplifting chord progressions and gorgeous male and female vocal melodies imaginable, then use the best technological advantages that 2013 gives us and you get a glimpse into what Setna's second album, Guérison, has to offer. It is beautiful, sublime, hypnotic, and so spiritually uplifting! Each of the five songs is sub-divided, but, in effect, the album has a straight-through flow not unlike many Magma albums. Every song and, in fact, each sub-song has idiosyncrasies worthy of high praise and long discussions (as well as repeated listens), but "Cycle II (c)," "Tryptique I (c)," "Tryptique II (a)," and "Tryptique III (b)" and "(c)" stand out particularly strong for me--should you want to listen to a few pieces in order to get a feel for the album, these might be just the ones cuz they display quite a broad spectrum of the sounds, feels and styles offered here. The "Guérison" suite feels separate, a bit more atmospheric, more displaying of rhythms and percussion, and, until the interesting Part "(c)," a slight step down from the previous two suites (four songs, eleven sub-songs). Still, this is one of the best releases I've heard from 2013, one of the best Zeuhl or Canterbury albums I've ever heard, and an album that will likely grow in my esteem as it occupies my turntable for the upcoming months.

5 Stars; an unquestioned masterpiece of progressive rock music.

Coming almost 6 years after their highly regarded debut, Setna's follow-up marks a shift in the band line-up, most notably the replacement of the distinctive female vocalist Natascha Jouet with charismatic male Yannick Duschene, but still highlights the musicians forging ahead with their own interpretation of the Zeuhl genre, with heavy inclusions of Canterbury sound jazz, fusion, avant- garde and experimental electronic elements. This makes Setna much lighter in tone for a Zeuhl band in some respects, but never any less dramatic or complex. Although indexed into 17 tracks on the CD, it's really three extended pieces and two bonus tracks, but all coming together to form a continious, sweeping and near-orchestral grandiose work.

`Cycle II:1-3'(9:52) sees the band enter with swallowing bass and sprinkling raindrop piano, slowly working up a groovy funk fusion by way of hypnotic Zeuhl explosion, with an almost Michael Jackson-esque glee! You listen closely trying to make out small fragments of audible clear words through breathlessly exhausting and indecipherable scat-vocals, with the most secret and placid of shimmering Rhodes purring in the background. Searing and manic Canterbury-fueled fuzz organ intensity before jazzy glistening electric piano ambient breezes finally lift us to safety in the clouds above. The piece is meant to represent moving beyond one's fear, filling your life with joy, creativity and peace, so hopefully listeners will open themselves to that possibility.

`Triptyque pt 1' (8:27) highlights human madness and chaos, quickly recalling `Welcome'-era Santana molten rapid-fire twisting electric guitar fusion over pools of Mellotron waterfalls. Soothing Magma-styled gospel vocals intertwine with acoustic guitar, before a final joyous and sweet rising vocal crescendo over intensifying drumming, snarling bass and weeping piano. `Triptyque pt 2' (9:45) symbolizes solitude and sadness, before a glipse of a solution. Crying sorrowful calls, acid- fried David Gilmour-like lazy lead guitar over jazzy drumming picking up and dropping back in tempo with twinkling Soft Machine spastic Mini-moog eruptions. Soon haunting majestic Mellotron choirs and sweet falsetto tones dart back and forth between punchy and heavenly while the Rhodes positively hums. `Triptyque pt 3' (8:04) offers meditation, a reflection on human nature, advancing into harmony. The opening ambient passage is full of suspensful ghostly electric piano that sneeks up behind wrapped in hypnotic murmurring bass, before the pieces turns confronting and somber with thoughtful clarinet and ethereal phasing droning voices to envelope you. The gentle shower of electric piano and lapsteel guitar bring positivity and warmth.

The title track `Guerison' (14:58) represents the parasite, a process of healing and a fresh start. Overall very percussion driven, it begins with a machine-like hum and other-wordly electronics that make for briefly uneasy listening, but soothing vocals and twirling Mini-moog turn the direction more reassuring. A funky wah-wah guitar and Canterbury-fuelled fuzz organ blowout that would make Caravan smile makes for a perfect and uplifting way to wrap the album, although a couple of shorter bonus tracks allow an alternate approach to two earlier passages to be heard.

`Guerison' is certainly one of 2013's best albums, and along with Rhun''s `Fanfare du Chaos', offers a unique and individual take on the Zeuhl genre performed by a group of talented musicians. It is frequently thrilling, varied, warm and joyous, almost taking on a spiritual quality to lift you into the blissful heavens. Progressive listeners who find the darker and oppressive elements that frequently define the Zeuhl genre may want to consider this album and band first, as they perhaps offer a more approachable and human take on the style. `Guerison' is a truly divine and rapturous experience, an absolute joy to listen to over and over, so don't miss out on it.

Five stars.

Billed as Zeuhl - indeed, it comes out on Soleil Zeuhl, which I guess makes it a canonical part of the movement - the debut album by Setna is actually something I find even more exciting: an intoxicating blend of zeuhl with the sound of the Canterbury scene (especially the likes of Hatfield and the North). This strange crossbreeding of cult progressive rock subgenres is accomplished by Setna drawing most of their inspiration on the zeuhl side of the equation from the first two Magma albums; the jazzy, Miles Davis-inspired fusion sound opens the door to the lighter, airier fusion stylings of Canterbury acts. It's certainly an experiment, but it's vindicated marvelously on this gloriously sunny album.

Second and much awaited album after their tremendous debut album called Cycle 1, although it was a slower process than originally announced. Although not named as such, Gu'rison delivers what was promised as most of the album is related since the opening 3- movement suite is named Cycle II. The group is now only a quintet (KB-man Goulay is listed as a guest), but numerous guests are contributing, the better-known being Benoit Widemann on the minimoog. This is not the only surprise as this album contains vocals (not just chants), but not the sublime Natacha voice present on the debut, replaced by Yannick Duschene, who also takes part in the mixing and mastering (along with the ever- excellent Udi Koomran). As for the artwork, it looks like some tantric 'sand painting' and the back cover feature a wink to the five musicians in stylised silhouettes.

Opening on the 10-mins Cycle II, the album takes off where its predecessor had left things at, with a delightful and serene Zeuhl music (we're nowhere close to Magma's oppressive climates). The following three-part 8-movement Triptyque, of which the first part is surprisingly dedicated to Supertramp's Roger Hodgson, but fear not, it's only in the spiritual mode, not in the musical realm. Nevertheless, the lengthy 26-mins suite plunges deep in the inner throes, while remaining fairly lightweight, the JR/F moods being never far away.

The closing 15-mins Gu'rison (Healing) suite presents slightly different soundscapes, sometimes passing through the Canterbury-ian counties, with some delightful Kentian meanders and detours - most notably the fuzzed organ is track 14. The two bonus tracks are a bit awkward, the Parasite bit being mainly a drum solo (from the Gu'rison suite), while Hymne Au Soleil (from the first Triptyque piece) is mainly a Rhodes and vocals thing. While both bonus tracks don't clash with the album proper, they do sound and feel a bit less thought-out as the three main suites.

The logical continuity of their first album, Gu'rison just doesn't repeat the formula, but expands on the universe developed before. Easily as good as their first effort, hopefully, they'll concentrate on the main Setna project, instead of spreading themselves a bit thin on side-projects like Xing Sa.

Ethereal Zeuhl

To the casual prog fan this venture by French band Setna just might be the best way of approaching the Zeuhl brand. The mad and overtly gibberish laden characteristics that often sound like showering opera singers and piano playing walruses here are exchanged for something softer and far sweeter.

That is not to say that Cycle 1 is a diet Zeuhl album, even if I completely echo my fellow reviewer Luca's sentiments, when he opened up his review with: 'How can Zeuhl be so light and accessible?' There is indeed a lightness to this music - a fluid feathery veil of sorts that covers most of this recording with an easy digestible coating, - one that preferably should entice people from far far away who normally frown upon the French theatrics and bands named after molten rock.

Divided into 9 separate tracks, the album still sounds as one continuous piece that ebbs and flows delicately over you like a warm summer breeze. All the individual Zeuhl trades are there, maybe except for the big male choral outbursts, but the classic zooming bass lines throbbing, writhing, propelling the music forward, the clever and intricate jazz stylings of the drums, the electric piano relegating pensive and soothing soundscapes - all of this is here in full. Which means that you folks out there who love Zeuhl for what it is, you'll still find a lot to love on here, even if things tend to unfold abnormally pretty and beautiful.

Oh yes, those two adjectives are at times some of the most terrifying and unwelcome words to the proggers out there who revel in dissonance and the bizarre. "Beauty?!?!??? Hell, I'd rather feck a sheep with flowers in its fur!" Whatever your preferences may be - whatever floats your boat musically - this thing will more than likely hold something to your liking. Apart for the already mentioned ingredients, the vibe here is more than anything: ethereal. That's a first time for me. Ethereal Zeuhl. That's like electronic folk........... Well, as strange as that may sound to you, the combination of this liquidy, oozing - ethereally wafting fusion and those aptly placed Zeuhlish features - does work wonders on Cycle 1. And topping this most delightful mix off - is a big bag of tricks that continues to amaze the listener all throughout the album. Zing!

Firstly, the serene clean female vocals occasionally guesting are downright gorgeous. Feels like listening to a feminine rain cloud singing - something light and wet, a ghost of olive oil, or maybe something entirely made up of ice and sunbeams. Then you have some marvellously placed saxophone parts underlining the odd sections that just need that little bit of extra umphh of jazz and zest. Wonderful indeed, just like the omnipresent Fender rhodes or the seldomly heard guitar that right at the very end peeps out of hibernation to give you something very rare inside a Zeuhl album, which is a heartfelt, bleeding solo - going right through the speakers and into your soft drink - disturbing ice cubes and strange mini umbrellas.

This is music you put on whilst spending time under a waterfall. It's something for a night out on the river. Music for the eternally wretched of us that seek consolation and comfort in the sonic side of life - presenting itself as both complex riveting blood-rushes as well as daydreaming affairs that chill you right down to your very core. This thing does both - incredibly well.

How can Zeuhl be so light and accessible? I went to this album after reading that this band is where Xing Sa are from, and being their currently only album one of my favorite albums of the recent years I went to Setna.

I was expecting something good, but this is more than good. It seems to be conceived as a suite as all the tracks fall continuously one into the other. It goeas from repetitive and hypnotic ("Voir") to jazzy ("Etre") passing by a lot of "impressions", but all excellent and enhanced by the very warm voice of Natacha Jou't.

There's no need, I think, to go track by track or making detailed descriptions of the music. This is in few words what I call "Blue effect music". Something that gives me a sensation of peace and rest after a hard day. Dreams and mental images just before sleeping, music comingfrom the Moon....

There's not the usual darkness as in many Zeuhl albums. There's a lot of jazz, very soft and skillfully played so that I think that if it wasn't for specifically Zeuhl moments, specially when Natacha sings, this band could have been added to JR/F as well.

Just let me mention the closer track "Unite" which features a fantastic guitar riff on a jazzy base that could appeal even fans of Santana. The rhythmic section (bass and drums) support then a keyboard riff that....well, have you present the Camel's most jazzy moments with Richard Sinclair? Just the three tracks that I've mentioned are three good reasons to have this album. At the same level of the Xing Sa one, an album for all the (prog) tastes, even for those who think that they don't like Zeuhl: try it.

The rating? Masterpiece is a very big word, but we don't have a rating that's more than just "Excellent addition", so I want to be a bit generous. Even if not an absolute masterpiece it really deserves more than 4 stars.