EYE 2 EYE

Apart from the slightly accented vocals, one would think this was an American album from the 90's, from the artwork, presentation and logo through their version of neo prog and would be hard pressed to realise this is a new French release. There are a couple of guests who add significant nuances, especially Marie Pascale Vironneau whose violin could have been used even more widely, such is the impact she has when she is involved. The band understand the need for dynamics, but it is the quicker paced numbers where they really shine through, as here they allow the guitars and keyboards to take control, with the middle section of "The Hidden Muse (Ghosts, Pt. 3)" a case in point as there is a huge contrast between that and the strained slower passages.

There are two lengthy ambitious songs coming in at more than sixteen minutes in length, although they are broken up into multiple sections, but for me the band are stretching themselves just too far, and they do not have impact they could have. I am also not convinced of the vocals, as while Jack has a wonderfully emotional style, it does not always gel well with the music underneath, and there is a feeling that we are very much in the early 90's and bands from that movement when they were just starting out as opposed to a group who have recorded five albums. An interesting and fairly enjoyable neo prog release, but not essential.

"Behind the Veil (Ghosts, Pt. 2)" with a Floydian start following a piece from the previous CD, forward sound effects with bagpipes, Irish flute à la "Local Hero"; it branches off onto SUPERTRAMP, think of one of his best compositions as an intro and then a variation on a violin-piano and voice basis; it then passes on a grandiloquent tune with synths and crystalline solo of Bruno's guitar; the progression becomes almost pompous with choirs and violins in a mystical atmosphere but remains very melodic and symphonic. "The Hidden Muse (Ghosts, Pt. 3)" and an aria centered on the guitar thank you Bruno, basic rhyme that will start with neo prog à la IQ or a little ARENA, in short, good, heavy, heavy sensitive but neo innovative; return to the 1st basic tune. "The Choice (Ghosts, Pt. 4)" finally arrives follows with: "i. Strange Battlefield "and a chained who shoots Wallian jousting, combat of voices and instruments; the contribution of Marie-Pascale's violin amplifies the bucolic aspect, I find some of the sounds of Steve HACKETT very pleasant. "Ii. A Light Appeared "continues with a flirtatious sound between a track from" The Wall "and one from ARAGON. "Iii. Ghost's Creepy Voice "and the guitar interlude, its crystalline, airy, spatial sound, sound that could be included in an AYREON CD, very nice song in itself! "Iv. The Fight "continues with a slightly vintage violin-organ drift, it smacks of the 70's and KANSAS albums, even more with this famous GENESIS break, a more cheerful and dynamic instrumental piece; It's simple, it smacks of old tones with a dreamy Mellotron, with a remix of dynamic sounds. "V. No Compromise "and its sung drift, catching up with the Genesisian instruments of the Steve HACKETT period again and" vi. The Silent Shroud "ends this long track with drawer on a ballad air with acoustic guitar, the violin coming to mingle pleasantly in the end, the guitar always in the same vein; quite symphonic and a must.

"Moons Ago (Ghosts, Pt. 5)" with a title where the expressive voice of Jack takes us on the story of this disillusioned musician, metallic and synthetic percussions of the "Duke" of GENESIS, break solo vintage organ from church to the YES bringing a superb guitar solo then return of the magic violin peeping on an orchestral symphonic tune; the slightly scratched voice creates confusion with the creamy instruments, to note this sequence which makes time pass quickly. "Nowhere Highway (Ghosts, Pt. 6)" for the second long track, "i. Princes Street »intro à la Klaus SCHULZE, à la Jean-Michel JARRE, bronx drums, then this bass which really brings me back to« Mouse »of ARAGON; I love it all the more since the phrasing reminds me a little of Nicholas from LIGHT DAMAGE or FISH, haunting voice. "Ii. Emptiness "continues on the same line, hey it also reminds me of the chained and nested parts of the SYLVAN'S at times, the voice excepted; a guitar solo ends this track with a pompous wedding / funeral tune, the choice is yours. "Iii. The Muse's Caress "and its airy choirs bringing crystalline notes from Bruno who reminds me of Steve ROTHERY's solos and it shifts on" iv. Wandering "where I hear the enumerated problem of said musician ... whiskey !, it continues with" v. The Holy Glow "and" vi. Lost in Time "on a variation where the repetitive guitar keeps you going and then the organ. Just to direct you to "vii. Virtual Sunset "and its dark, melancholy title with a heavy atmosphere, an escape from the highway of dreams, of the nightmare he had taken? The end in decrescendo to appease, to meditate on this gripping trip.

EYE 2 EYE has concocted a beautiful concept album with a symphonic richness tinged with neo, some touches of classical, melodic rock opera; an album that smacks of a mix of the 70's, 80's and 90's with a well-updated rhythm, an album which does not reinvent but which polishes the genre by magnifying it. An album that will remind many of the flamboyant side of ARAGON's "Mouse"; a very good success that could have easily entered a top 2020, in short, to listen to urgently.

The 8 compositions (most between 8 and 15 minutes) are simply structured but the arrangements are very well done featuring a huge tension in almost every track: from dreamy with pleasant English vocals and tender piano or intense violin to bombastic with majestic violin ' and choir-Mellotron samples and excellent, very moving guitar work (lots of sensitive, howling and fiery solos with hints of David Gilmour and Steve Rothery). The often compelling atmospheres strongly remind me of early Marillion (especially the epics) but also Pendragon and Clepsydra. The two final epic compositions (between 13 and 15 minutes) Hovering and the titletrack are the most alternating and elaborate, this is the band at its full splendor with lots of flowing shifting moods, good musical ideas and strong work on guitar, keyboards (great Mellotron sound) and a nice colouring with piano and violin, topped by emotional vocals.

I am sure the neo-progheads will be very pleased with this Eye 2 Eye album.

My rating: 3,5 star.

The line-up changes only good could have made to a band that had a rich and grandiose sound, but failed to deliver memorable material and conveincing songwriting.The receipt was the same: Mostly long tracks with plenty of changes, melodic passages and doses of symphonic grandiosity next to more downtempo atmospheric soundscapes.The influences come still from the music of MARILLION, PINK FLOYD, GENESIS and PENDRAGON with the musicianship being often absolutely bombastic and dense.What had really changed was the presence of striking melodies, the delivery of more powerful, orchestral movements and, last but not least, the presence of a new singer with a highly expressive voice.The arrangements contain plenty of changing climates, mostly in a very emotional or theatrical manner, that are tightly connected to each other, with floating synthesizers, cinematic orchestrations and deeply lyrical offerings.The guitar work is usually stunning, serving the needs of the atmosphere.Nervous riffs leave their places to thrilling solos, while there lots of GILMOUR-like smooth vibes around.The result ranges from sufficient to outstanding and the atmospheric textures are in a great balance with the melodic patterns or the more emphatic instrumental ideas.

This is certainly a welcome development over the decent but slightly colorless ''One in every crowd''.A must have for Neo/Symphonic buffs and a warmly recommended album for all lovers of atmospheric Progressive Rock...3.5 stars.

On the other hand it is also obvious that the group has very talented musicians and their songwriting is, at least, above average. Oddly enough, singer Jack Daly delivers his parts more like Steve Hogarth than Fish, even if several hints of Fish lyrics are present along with the music (a homage?). The addtion of a violin player on some tracks is a plus and I hope they use this instrument more in the future. As expected the guitar solos are brilliant and the keyboards are great too. Ok, nothing really new, but brilliant parts anyway. Production is very good.

Conclusion: a great promise. In 75 minutes of musis, After All... has lots of tasteful moments that will please the neo prog lover for sure. But the band has to hone their strong songwriting skills to make something less derivative and more original. Certainly they are more than capable of doing so. I´m looking forward to hear their next release. Maybe this will THE one. For now, they are good (most of the time very good), but hardly essential: 3,5 stars is a good rating.

It's Neo-prog, maybe typical sound of neo, for me characteristic by guitar sound and certain composition of songs, in other words, structure. It's hard to describe it, I just feel it. That this album is good example of Neo-prog. Second track, Tears of a Clown really reminded me Marillion's first album. Not by music, or at least not much, but more like with atmosphere, idea of sad clown. Cold and Happy, I can almost see imagination of some distant country, standing on a ridge and watching forest landscape under my feet, many meters down, in a land and time, when kings still reigned, even the lyrics are completely different. It's epic album and is full of mostly longer tracks. I wonder, why (when I first listened this album) C & H charmed me so much. I know the reason, it's because this song has magic inside. It's here as one of the elements to make final impression. And not only this song, most of them. Only track I don't like much is first, Overture intro, but that's not important one. Not bad, but more like setting mood, just introduction to what will await, full of unfulfilled ideas, promising, but not satisfying. Yet.

5(+), simply inspiring masterpiece, undeservedly overlooked.