WEEND'Ô

The band is built around somewhat unusual arrangements and layering of heavy prog, combined with the wonderful vocals of Laetitia Chaudemanche, who also provides keyboards. The line-up is completed by Terence N'Guyen (guitar, arrangements), Maxime Rami (bass) and Nathanel Buis (drums). Having not heard the original version of the debut, I am unable to comment as to whether there is much audible difference, but whoever felt that the arrangement to close 'Experience' was the right one needs their bumps read. The Gathering are an obvious reference point, although to me Weend'' is more progressive and not as metallic and symphonic as that band can be. Some of the songs feel direct and have purpose, while others seem to meander along before they finally get to the point, and one wonders what would have happened if they had been able to get a strong producer working with them. While this shows promise, and there are times when they definitely fire, this often feels more as a work in progress of a band somewhat unsure of their direction. That they felt they needed to address the arrangements within a year of releasing the album the first time only cements that view.

It is interesting, and the vocals are very good indeed, but it needs to be more concise with an understanding of what they are trying to achieve.

The band see the album as a call to humanity, to keep faith and hope despite the appalling events currently afflicting the world . The band believe we are entering a new period in our evolution, and we are experiencing frequencies that are creating a new paradigm even though the events of 2017 - like devastating earthquakes - have been disastrous for individual communities. This following quote is from French writer, René Barjavel, from 1984, and as it sums up the lyrical approach to the album, Laetitia wanted to share it in the booklet. "Living is not enough, we must be alive. That is to say knowing that every minute we are at the heart of a miracle and being in contact, in harmony with it. That's difficult, but once we succeed in becoming aware of it, all our efforts will be rewarded a hundred- fold. Most of the time we see but we don't look at, we hear but we don't listen to. Things jostle us instead of being handled by us. We should dispose of them for our happiness, and they own us for our fear. Yet each and every one of us is at the Center of everything, in the midst of the entire universe. Each and every one of us has the doors the creator (or the nature, as you like) gave to enter it. But we forget to open them. For my part, I keep on being amazed by the phenomenon of life."

Like the lyrics, this is a grown-up and mature album, and one that I have gained more from each and every time I have played it. The guitars are sharp when they need to be, so jagged that one wonders if music can draw blood, the bass rumbles through, competing with the drums to lay the foundation, while Laetitia either provides keyboard harmonies and symphonic backdrops or takes the lead herself, while also providing vocals that cut through the music beneath. This is a band we are going to hear a great deal more about

What we have here is a somewhat odd production as seen from a contents point of view. The album consist of 8 compositions, with a further three tracks consisting of radio edits. The unusual aspect here is that the CD opens with radio edits of two of the compositions, the extended original versions appearing towards the end, and then the third radio edit has been chosen as the concluding track of the CD. A curious choice for me, especially as the best of the radio edits, at least to my ears, is the final one.

Be that as it may be, musically we're dealing with a band I guess can be placed more or less within a similar context as bands such as The Gathering. We have compositions alternating between calmer passages and harder edged sequences, the former defined by delicate plucked guitar details and smooth keyboard details, the latter by harder edged and often beefy guitar riffs that are loud and dominant without ever coming across as rough or gritty. Music easy to listen to, where the powerful and controlled lead vocals of Laetitia is given the limelight all along. She has a finely controlled delivery, able to convey the softer details as well as the more emotionally laden and dramatic ones, without ever approaching the wild or untamed. At times she's verging on the operatic, which has been kind of fashionable ever since Nightwish became popular, and I guess Weend'o should have a fairly strong appeal to those who like that kind of music even if their chosen turf is rather different from a stylistic point of view.

Strong bass motifs and elegant drum details are other defining traits of this production, and the band even includes some touches of textured instrument details with half a foot inside post rock territories at times to good effect, as documented on Betrayal. Clever use of electronic details also flavor some of the compositions quite nicely, while some guitar details on the song Deadline at least to my mind brought forth associations to bands such as Iron Maiden, this association restricted to a limited few details I'll hastily add, as the composition overall is rather far removed from the sound of those metal pioneers.

The end result is an interesting debut album, and apart from a couple of songs that left me somewhat indifferent this is an easy to like and pleasant run through accessible progressive rock with distinct metal orientation, and a production that should have a strong general appeal to those who enjoy harder edged, elegant metal-flavored rock of the accessible kind.