MISTER GREEN

Loïc Bernardeau and Sébstien Constant expressing their life-in-music, music-as-celebration-of-life point of view with intricately constructed and very dynamic and cinematic compositions through top notch musicianship.

1. "Barbituricus" (15:16) nice gentle prog music gradually becoming cabaret-theatric, on the verge of Theater of the Absurd. A wonderful, creative composition with stellar performances across the board, this song explores all speeds and dynamics, as well as several styles, despite its overall somber mood. The finish reconfirms the fact that this is a theatric production. (27.5/30)

2. "Coornibus" (8:41) opening with a very Ravel "Bolero"-like feel despite the more acoustic folk instrumentation used. After two minutes the guitar and flute lead us into JETHRO TULL territory an intricate, fast-paced weave. But then at the end of the fifth minute we are taken down a more aggressive metallic alley before coming out into a more classical roundabout (think Tchaikovsky ballet music). Flute and strings then lead us into a brief, delicate classical passage followed by bombastic prog motif before reverting to classical via piano which then is overwhelmed by aggressive guitars and rock formats. This is like Trans-Siberian Orchestra only performed by truly classically-trained and classically-oriented minds and musicians. Not the prettiest or most melodic (or sensical) song ever, but displaying some very fine musicianship as well as creative compositional inclinations. (17.75/20) 3. "Flat Spectre" (12:34) another classically-informed song construction with a notably jazzier flair and swing. Once again, the over-reaching arch of the song is quite theatric--taking us through many moods via many dynamic and instrumental combinations. Though I disapprove of some of the keyboard sounds used (dated "Nineties" computer keyboards), and I get a little tired of the abrasive saw-like sound employed by the lead guitarist, I can do nothing but praise the musicianship--especially that of the drummer. The classical style here imitated (or adapted to rock "orchestra") is more Gypsy-carnival flavored than previous compositions. Again I cannot help but make comparisons to TRANS-SIBERIAN ORCHESTRA. Interesting choice to simplify the structure in the eleventh minute for the build up to the fiery guitar solo, Again: so theatric! (21.75/25)

4. "Ragtime" (2:40) I feel that this is just as much klezmer/Romansch as it is 1920s jazz--but, then, it's also a very modern rock interpretation. Great clarinet play. (4.25/5)

5. "No Way!" (1:24) as if a recording of an anti-Mr. Green street demonstration from inside the (safe) confines of one's own kitchen/home.

6. "Mister Green" (4:35) in the spirit of life-theatre bands like Les Negresses Vertes, Loïc Bernardeau and Sébstien Constant are here expressing their life-in-music, music as a celebration of life point of view. (8.75/10)

7. "Mister Grey" (4:33) militaristic drum play anchors this piece that feels like it could come out of Les Miserables or some such French historical context. This gives my gut reaction a further reason to think that this band is a successor to ÄNGLARGÅRD and predecessor to Spanish band KOTEBEL. (8.75/10)

8. "Aspartamus" (7:33) such a great title! Slow footsteps of a singular man in dress shoes is followed by the band's launch into full drama of a film noir like mood and stop and go (run and wait/listen) pattern. At 2:10 there is a total switch in music--as if we've switched to the view of an entirely different scene (of the movie)--and again at 2:56--this time into a more forward-moving "countryside chase scene" like feel (with a little "Trip to the Fair"-like eerie keyboards thrown in there for good measure). The ghost-haunted pause in sixth minute is mysterious and inexplicable (except for the sake of suspending outcome and, therefore, tension) but I like it: it conveys an interesting mood and effect. (13.5/15)

9. "Super Flat Moon" (11:35) opens as if a purely 1960s Wes Montgomery or Django Rienhardt/Sephane Grappelli jazz piece, only amplified and embellished by rock instrumentation (metallic electric guitar). Various familiar themes and motifs are explored as the music shifts direction even more quickly and frequently than any of the previous songs. (How does this represent a "super flat moon"?) Again: cinematic theatricity seems the rule with the flow of this composition as we move through so many different, disparate, and seemingly unconnected landscapes--including the extended free-form and eerily spacious middle section. Weird but wonderful! Great drumming! (18/20)

Total Time: 68:31

I have to admit that this dynamic, very theatric music is highly entertaining--and usually quite engaging! Such wonderfully dextrous musicianship from all band members (and guests). Well done, TAAL! You have done much to expand the lexicon of progressive rock music!

B+/4.5 stars; a near-masterpiece of dextrous, cinematic progressive rock music--something every so-called lover of progressive rock music should lend an ear to.