Prog Critique

Deux ans après le fabuleux désastre (!) de l’album précédent, le quatuor animé par le compositeur-guitariste Frédéric l’Epée, vient de sortir un nouveau collier de pas moins de 13 perles musicales, regroupées sous le simple vocable anglais Rejoice! Musique instrumentale très élaborée, le chant y est toutefois bien présent comme sur le millésime 2022, et dans ce registre on y découvre avec bonheur Carla Kihlstedt, américaine, violoniste et donc chanteuse. Le monde dans lequel nous vivons semble de plus en plus problématique (doux euphémisme) ? Qu’importe, la musique de Yang nous propose tout simplement de nous réjouir en oubliant, au moins le temps d’une écoute, le côté obscur.
Et bien pour ce faire pourquoi ne pas commence dans la pure jubilation ?

L’ébouriffant « Step Inside », transcendé par la guitare virtuose et véloce de Frédéric l’Epée, dont on connait par ailleurs l’amour pour les rythmes complexes dont il se joue avec maestria (et les autres avec lui), est au bout du compte une ode à sortir de soi et à bondir hors des carcans, même si le titre fait dans l’introspection !
« La Quatrième Mort/La Vie Lumineuse », une calme balade en deux parties, nous permet de faire connaissance avec la voix fluette et très aérienne de Carla Kihlstedt.
Sur « Concretion », une longue intro à la guitare nous amène peu à peu sur un motif plus nerveux à la section rythmique, un peu sombre, mais sans cesse survolé par le chant de la guitare et entrecoupé de passages plus calmes aux belles harmonies.
Une autre balade acoustique, « Get Lost », donne à entendre la voix plus grave de Laurent James, tandis que le refrain avec chœurs donne à l’ensemble un air de cantique.
Sons déstructurés en intro, débouchant sur une marche lente, donnent à « Fire and Ashes » une atmosphère lourde et lugubre, à peine éclaircie par le chant haut perchée de la chanteuse.
« Entanglement », enchevêtrement ou intrication quantique pour les férus de la mécanique du même nom, est un des morceaux les plus puissants de l’album, avec son rythme ternaire hypnotique. A noter le chant d’abord en français, puis en anglais.
La musique répétitive, toujours très présente dans la musique de Yang, nous vaut ici un instrumental, « Light as a Cloud », dans lequel Frédéric l’Epée démontre une fois de plus toute la science d’écriture, bien secondé par la technique sans faille des instrumentistes.
La piste-titre nous offre une fois de plus les mélismes guitaristiques de L’Epée, avant de lancer un chant aux sonorités crimsoniennes. Cette injonction à la réjouissance demeure assez étrange et oscille entre ombre et lumière sans jamais basculer franchement d’un côté ou de l’autre.
« Berceuse for the Guilty », un beau moment de poésie musicale, propose de nouveau un nouvel enchevêtrement de mots français et anglais.
« Strange Particles » tient clairement du jazz / fusion contemporain, traité en véritable contrepoint ou chaque ligne musicale semble d’égale importance, et le résultat est rien moins qu’un véritable enchantement !
« Surrender » revient au style jubilatoire du début d’album.
Nouveau rythme complexe et syncopé à la guitare pour lancer « We are Heralds », une sorte de cantique jazz-rock lumineux et aérien.
Place au final de ces réjouissances musicales avec « The Final Day », un impressionnant point d’orgue qui réassemble sur plus de 11’ le mécano sonore précédent. Difficile de faire plus poétique que l’entrée en matière en duo guitare / voix, le tout en mode majeur. Le basculement soudain du trait de guitare en tonalité mineure altère quel peu la luminosité. Ce n’est que partie remise, et la deuxième entrée du chant poursuit l’ode à la lumière, jusqu’à une nouvelle alternance tonale. A la moitié du morceau, la musique devient plus puissante et carrément débridée, jusqu’à une longue coda qui va decrescendo, ultime moment pour le guitariste d’élaborer arpèges et accords harmonieux.

Décrire la musique de Yang n’est pas chose aisée. Si Frédéric l’Epée y démontre l’étendue de sa technique guitaristique, et son incroyable agilité à défier les rythmes complexes, c’est bien sa science de l’écriture musicale qu’il faut louer dans Rejoice! (*), et plus généralement dans l’ensemble de son œuvre. Quelque part entre Robert Fripp et Django Reinhardt, il a développé un style de jeu assez unique, et ses compositions sont très éclectiques (rock progressif / musique expérimentale / post-rock / jazz-rock). Cette démarche musicale originale en diable, je serais tenté de la rapprocher de celle d’un autre grand créateur français, Jean-Paul Prat.
Yang et ses quatre musiciens (dont Laurent James, Nico Gomez, et Volodia Brice), sans oublier Carla Kihlstedt dont la voix offre ici un indéniable supplément d’âme à une musique qui en était déjà bien pourvue, réalisent avec Rejoice! une œuvre en tous points inspirante !
Pierre

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Prog Radio

"Rejoice!" by Yang is a wonderfully eclectic album that marries intricate, guitar-centric compositions with melody and emotive themes.
Led by guitarist Frédéric L'Épée, Yang has a history of creating complex yet accessible progressive rock. This latest album, the band's fifth and third release on Cuneiform Records, sees L'Épée teaming up with guest vocalist Carla Kihlstedt from Sleepytime Gorilla Museum, whose vocal performance brings a new dimension to Yang's music.



The album was conceived in the wake of global turmoil, including the COVID-19 pandemic. L'Épée says he was inspired to create music that would offer a sense of healing and hope, resulting in a collection of songs that are both reflective and transformative, aiming to uplift listeners amidst dark times, just as the name implies, Rejoice!
"Rejoice!" showcases Yang's signature sound—characterized by intricate polyrhythms, tightly woven guitar parts, and dynamic shifts in mood and tone. The final track, "The Final Day," exemplifies this with its combination of soothing fingerstyle guitars, haunting vocals, and a darker, more intense bass line. The song reflects on themes of mass extinction and climate change, yet it manages to convey a sense of joyous release, encapsulating the album's overarching message of finding light in darkness.



"Rejoice!" is the perfect blend of “strange” mixed with message and melody, akin to bands like Gentle Giant and Caravan. Prog Radio is pleased to be featuring several of the tracks from this well-crafted album in our rotation. We’ve featured a couple of the singles in previous "What’s New Proggy Cats?" shows, but now that the album is out, we look forward to featuring one of the album cuts.
Kevin Carmony

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Prog Censor

Il est des albums plaisants qui se livrent dès la première écoute. Et il en est d'autres, plus farouches, où la première écoute interpelle mais laisse pantois.
«Rejoice!» est de ceux là. Et, plus rare, il est de ceux que chaque écoute conforte un peu plus sur la certitude de toucher à des vibrations universelles, vraiment.

Frédéric l'Épée (compositeur et guitariste, depuis le Shylock des '70), n'aime pas le son de sa voix. Alors la musique de Yang jusqu'à leur album précédent était instrumentale. Faite de guitares imbriquées, de contrepoints et de polyrythmies savantes, c'était implacable et diabolique. C'est toujours le cas. Mais depuis que Yang chante, l'émotion qu'ils procurent est décuplée.
Cette fois, c'est Carla Kihlstedt qui vient chanter avec le quatuor toujours composé depuis 2010 de Volodia Brice (batterie) et Nico Gomez (Basse) et de Laurent James (guitare et… basse au CHANT!).
La voix, féminine et/ou masculine, y est considérée comme un instrument supplémentaire, les textes, français et anglais, sont pertinents et actuels. La guerre, le fascisme et le dérèglement climatique perdurent, même si le Covid semble derrière nous, alors «Rejoice!» nous rappelle que la beauté existe encore et nous aide à trouver la lumière. Yang transforme les ténèbres en art.

Extrait du dossier de presse: «Selon la plupart des journalistes professionnels, les comparaisons sont odieuses. Et selon la plupart des professionnels musiciens, les critiques ne servent à rien.» Je ne suis que chroniqueur et, odieusement, j'invoquerai d'abord le puissant noir Soulages de King Crimson, son ancêtre Bach, Bjork pour le travail des voix, et enfin le minimalisme, le jazz et le symphonisme, mais je resterai, de toute façon, en dessous du spectre de ce disque, cohérent mais finalement inclassable, c'est «simplement» du Yang.

Un mot sur la belle fleur de la pochette: Yang c'est tout à fait cela! Un futur logo?
Écoutez, encore et encore, cet album indispensable comme un mantra curatif et réjouissez-vous!
Cicero 3.14

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Prog Magazine

Their fifth album, Yang’s Rejoice! (Cuneiform) is a glorious shape-shifting collection of guitar-centric songs variously touching upon Frippish complexities, plangent arpeggios and a surging sensibility covering a detail-rich musical landscape.
Led by ex-Shylock Frédéric L’Epée, previously an instrumental outfit, Yang has once again embraced vocals, provided here by Carla Kihlstedt, adding another layer to their expansive sound.
Sid Smith

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All About Jazz

YANG, the post-rock outfit led by French guitarist Frédéric L’Epée continues to expand their sonic landscape with Rejoice.
L'Épée, a seasoned figure in the progressive rock realm and former member of avant-garde bands Shylock and Philharmonie, infuses YANG's sound with his signature precision and emotional weight. Since their inception in the mid-2000s, YANG has crafted a distinct blend of post-rock, progressive rock, and classical elements, creating sweeping instrumental compositions that are as intricate as they are evocative. Known for their meticulous guitar work and dynamic shifts, YANG's music takes listeners on an emotional and cerebral journey.
In Rejoice, YANG sharpen their skills in instrumental storytelling. The band expertly navigates the balance between tension and release, building soundscapes that oscillate between atmospheric calm and thunderous crescendos. The interplay of the instruments, especially the guitars, highlights their technical brilliance while maintaining a sense of fluidity and natural progression.

The album opens with "Step Inside," a track that immediately grabs attention with its tight guitar interplay and dramatic shifts in mood. The chemistry between the guitarists is nothing short of captivating, as they weave together intricate melodies with Volodia Brice's thundering backbeats, creating a dynamic sound that is both mesmerizing and hard-hitting.
A standout track, "La Quatrième Mort/La Vie Lumineuse," introduces guest vocalist Carla Kihlstedt of California-based Sleepytime Gorilla Museum, whose haunting vocals lend a new dimension to YANG's sound. The delicate balance of light and shadow in this track perfectly reflects the album's underlying theme of hope emerging from chaos. Kihlstedt's voice floats over the shifting instrumentation, adding an eerie beauty that lingers long after the song ends.
"Entanglement" is a masterclass in contrast, blending urgency and tranquility through intricate guitar voicings. The track's midsection features a captivating melody, which emerges more clearly as Kihlstedt's contrasting vocals set the stage for a build-up that is as unpredictable as it is satisfying.
The album closes with "The Final Day," a somber meditation on themes of mass extinction and climate change. Yet, despite the weighty subject matter, the track carries an unexpected sense of catharsis. The elegant interplay of guitars and the sense of finality in the composition leave the listener reflecting on the fragility of the world but with a strange sense of peace.

The production, typical of Cuneiform Records' high standards, is flawless, allowing each layer of the music—from the subtlest guitar harmonics to the towering crescendos—to shine. Listening to YANG is like riding a rollercoaster through sound—full of thrilling twists, breathtaking drops, and moments of unexpected beauty.
Glenn Astarita

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Exposé

Yang has been showing continual growth through the course of their albums, with Designed for Disaster (2022) being an impressive statement of unique musical qualities.
Rejoice! continues the development, and also builds on the inclusion of vocals into the music — instrumental pieces are in the minority here.
The band’s personnel remains intact from the previous album, with Frederic l’Épée (guitar, keyboards), Laurent James (guitar), Nico Gomez (bass), and Volodia Brice (drums), with all but Brice contributing vocals as well. In addition, Carla Kihlstedt is on board for extra vocals. If I try to imagine what listening to this album would be like for someone who’s never heard Yang, it might go like this.

The first track is “Step Inside,” and it’s an intense piece full of guitar parts that come right out of the latter-day Fripp playbook, with fast interlocking parts backed by aggressive rhythms from bass and drums, but the vocals have a hint of Magma to them, and some of the sections are not at all like King Crimson.
Next up is “La Quatrième Mort / La Vie Lumineuse” which has a much gentler approach that bridges a Canterbury feel with RIO along the lines of Thinking Plague.
“Concretion” is a math-rock workout;
“Get Lost” is based largely on acoustic guitars, with a lovely rolling feel that suits the unusual vocal melody, and climaxes with a keyboard that resembles a pipe organ.
Other tracks add in heavily reverbed distortion, warped rock anthems along the lines of Sleepytime Gorilla Museum, jazzy tunes with melodies from the bass… The point is that there’s a lot of variety, but it holds together well, sounding more like a band that knows what it wants to be but has a very broad definition of itself.

Rejoice! is an outstanding album, one of the best progressive rock releases of the year, and certainly something worth celebrating. Jon Davis

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DPRP

Yang's latest and fifth album follows their acclaimed Designed For Disaster release of 2022. The bands previous releases had been instrumental, but Disaster saw Yang use a vocalist for the first time.
This trend is continued in Rejoice. The use of the human voice buffs and smoothly polishes away some of the unnerving effects of the artfully creative, yet abrasive elements of the music. This ensures that the album has an emotional as well as an intellectual pull and appeal.
Consequently, Rejoice has a more song-based approach than anything the band has created before and the prominence of the vocals in this release certainly adds to that overall impression. However, the tunes are not songs in the traditional sense and rarely employ a verse and chorus structure. On the contrary, the tunes are bursting with structured creativity and include lots of inventive parts.

The vocal duties are predominantly performed by Carla Kihlstedt, although guitarist Laurent James also makes a significant contribution on several tunes, including the quietly absorbing and beguilingly beautiful Get Lost. At times, his vocal delivery in tunes like Surrender reminded me somewhat of an Accident era John Greaves.
Kihlstedt is probably best known for her involvement in Sleepy Time Gorilla. In her role within Yang, her voice employs many different timbres and tones. On occasion, it provides a smooth accessible air and texture to the music to support engaging tunes like Entanglement. Other times, it pierces the senses and offers a disturbing and discordant air which perfectly complements of the albums mood shifting qualities in evidence in tunes such as, Fire and Ashes and the title track.

Guitarist Frédéric L'Epée is probably still remembered for his role in Shylock during the 70s, but his work with Yang since 2004 is equally impressive.
The influence of King Crimson has often been observed in Yang's previous albums. It can still be discerned in pieces such as, Step Inside where L'Epée's expressive playing is reminiscent of Robert Fripp and in the evocative Crimson styled melodies of the title track and Strange Particles. However, the real strength of Rejoice lies not only in the quality of the playing, but in the qualities of the compositions.
Although the album has a long running time, time spent in its company passes quickly. This is largely due to the carefully placed running order of the tunes which ensure that the release has moments of contrast where both light and shade are dynamically presented and a wide range of emotions are evoked.
The musicians execute numerous changes of atmosphere as the album unfolds. Volume and pace are used to good effect to create tension and resolution. In this respect the contrast between, the lightly formed almost minimalist atmospheric styling of the beautifully shaped Berceuse For The Guilty and the rhythmic riffage of Strange Particles works particularly well.
Berceuse For The Guilty provides a great stopping off point to gather breath and to consider and appreciate the inventive and innovative nature of several of the tracks that precede it. Its ear friendly nature ensures that the tune forms a sheltered refuge. It offers a place to consider the excitingly progressive and arguably less accessible elements of the album from a place of measured tranquillity. Berceuse For The Guilty is simply a wonderful melodic interlude that is superbly supported by the ethereal and tuneful warbling of Kihlstedt.
There are several standout tunes. Concretion is undoubtedly one of my favourites. This instrumental piece is both delicate and gently strident. It has many different characteristics and the expressive guitar tones explore a range of textures.
However, the concluding composition The Final Day is probably the piece that I return to most often and on a regular basis. Its duration gives plenty of opportunities for different elements to be developed and interesting musical patterns to evolve. The instrumental passages bustle and burst. They simmer and smoulder and gently caress and clasp, to mould with and stand n perfect harmony with the engaging vocals. It's an unusual mix, but somehow it all seamlessly works.

Overall Rejoice is a very accomplished album and should appeal to listeners who appreciate complex tunes played with great skill and vitality. I will certainly explore more of the bands back catalogue.
Owen Davies

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New Dawn of Prog

YANG is a French progressive rock band founded in 2002 by Frédéric L'Épée. Their fifth album, Rejoice!, released in 2024 via the esteemed Cuneiform Records—celebrating its 40th anniversary—showcases their latest evolution.

This album features a lineup of Frédéric L'Épée on guitars, keyboards, and vocals; Laurent James on guitars, vocals, and chorus; Nico Gomez on bass and chorus; Volodia Brice on drums; and Carla Kihlstedt on vocals and chorus.
“Rejoice!” presents 13 new compositions that delve deep into progressive music's rich tapestry.

rom the opening track, "Step Inside," the album’s high level of compositional and executional quality is immediately apparent. Each musician exhibits exceptional balance and taste, resulting in a distinctive sound that marries modern colors with intricate textures and dynamic shifts. This creates a captivating and vivid musical experience.
The album’s structure highlights its complexity, featuring odd tempos, polyrhythms, interlocking harmonies, and eclectic outbursts. The seamless transitions between heavy prog and jazz demonstrate a chiaroscuro approach, where moments of intense musical tension are balanced with softer, more atmospheric passages.
Carla Kihlstedt’s contributions, known for her work with Sleepytime Gorilla Museum, are particularly noteworthy. Her distinctive vocals enhance the album's emotional depth, as exemplified in "La Quatrième Mort/La Vie Lumineuse." Her voice adds a melodic and evocative quality that beautifully complements the album's shifting emotional landscapes.

Listening to “Rejoice!” is a journey filled with unpredictability. The music oscillates between heavy riffs and delicate, easy-listening passages, interspersed with earth-shaking jolts and sophisticated references.
Tracks like "Fire and Ashes" and "Rejoice!" feature dark, dramatic vocalizations that evoke both accessible and unsettling emotions.
The acoustic tracks offer a light, mysterious folk feeling, which then transforms into tense, rhythmically complex sections, weaving a rich and eclectic narrative.
The album’s melancholic elements are interspersed with bursts of new ideas, melodic lines, and jazz-infused showpieces.
The powerful, explosive instrumental sections, dominated by a fantastic rhythm section, create a dynamic listening experience.
While conventional melodies are present, the album’s brilliance lies in its relentless innovation and instrumental fervor, each track contributing to a whirlpool of creative intensity.
This is especially evident in the album’s longest track, "The Final Day." It stands out as a masterful blend of colorful, richly instrumented complexity, with asymmetrical development and a meticulous balance between solidity and void. The composition immerses the listener in profound pathos and sensation, maintaining a perfect equilibrium between its numerous ideas and the avoidance of redundancy.

Rejoice! is a compelling and adventurous addition to the progressive rock genre, showcasing YANG’s extraordinary musical prowess and creative vision.

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Acid Dragon/Dimensions in Time and Space

YANG’s “REJOICE”: FREDERIC L’EPÉES RALLYING CALL TO TURN AWAY FROM DARKNESS AND FIND BEAUTY AND LIGHT: A personal and wider perspective of a brilliant new recording by PHIL JACKSON for Acid Dragon.

Following our illuminating interview with Frederic L’Epée, the eagerly awaited new Yang release has now arrived! Described as a “guitar-centric quartet” with “Frippian counterpoint-fuelled compositions” this album does not disappoint in any way. In fact, I would go so far as to say that it is one of the most accomplished and visceral recordings I have heard in a long time!
Described as “a healing response for this New Dark Age” intended “to purge darkness from our souls”, guitarist extraordinaire Frederic L’Epée of Shylock, Philharmonie, and now Yang, fame, reports that he has changed his lyrical style from impressionistic to “directly meaningful” to shift the depressing agenda of our current age and, instead, “embrace beauty and light”.[...]
As for the music itself, Frederic has recruited vocalist/ violinist Carla Kihlstedt of Sleepy Time Gorilla for his latest project, a group he came across serendipitously when reading a review of his own work. While lyrically there is a different emphasis, intricate guitar and a polyrhythmic approach still prevails. There is so much I could say about this album, but I must refer to my notes to give a rough description of what I hear; this is one album that really must be explored at an individual level. I scrawled as I listened and here is what I wrote about some of the tracks:

‘Step Inside’ (5:02): a rousing start; we are urged to “laugh at fear, laugh at lies”.
’La quatrième mort/ la vie lumineuse’ (6:42): poetic: “embracing pain, embracing anger, I feel no fear”; it took me right back to the opening lines of “Dune”: “fear is the mind-killer”.
‘Get Lost’ (6:16): the message here is that when one experiences loss of faith and patience, and suffers dreamless nights, sometimes we need to be “hidden in a place where no one can find us”.
‘Fire and Ashes’ (7:47): We are urged to take heart for “fights and crashes dislocate our souls however pure we are.”
‘Entanglement’ (5:15) is a very moving piece about us sharing the flow, the same river, the elements affecting us equally. The music makes you feel that you are part of something on a higher plane than the mundanity and reassures us that “I will hold your hand”, wonderful sentiments expressed both musically and lyrically.
‘Rejoice!’ (5:04): Reassures us that we are not alone in feeling nervous, weak and worried. Too many of us are fearful, ignorant and resentful, “easily swept away by the first storm” but we must learn to take pride in our imperfections and remain.
‘Surrender’ (4:28): “Surrender, old friend, give it up and leave it to me” – what beautiful words!
‘The Final Day’ (11:27): A breathy, balladic vocal, a bass ostinato creates a darker mood; the subject matter is not easy as mass extinction (potentially) awaits: “over the land, fiery sand falls, everyone’s horizon burns”: you might think this is a pessimistic album, but actually it is not.
Phil Jackson

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Profil Prog

Je découvre, avec cette opportunité de chronique, une formation française qui œuvre depuis 2004. Un quatuor qui fut historiquement instrumental, le projet du guitariste et compositeur Frédéric L’ÉPÉE, au curriculum bien rempli, ayant été l’instigateur des formations SHYLOCK dans les années 70 et PHILHARMONIE de 1987 à 1998.
Il s’agit de leur cinquième album qui fait suite à « Designed for Disaster » de 2022, qui a priori fit le bonheur des critiques du monde progressif. L'ÉPÉE releva dans une de ces critiques sur le web, que le style de YANG sur leur album précédent se rapprochait de celui de la formation californienne SLEEPYTIME GORILLA MUSEUM. Curieux, il s’est rapproché de ces derniers et il y a découvert une voix, celle de la chanteuse et violoniste Carla KIHLSTEDT qui se produit donc sur leur nouvel album « Rejoice ! », étendant ainsi le champ des possibles de ce groupe. Celle-ci prends donc la relève de Ayse CANSU TANRIKULU, entendue sur le précédent album.

L'ÉPÉE raconte que à la suite multiples dépressions d’amis dans son entourage, il décida de composer dans l’optique de ragaillardir ses troupes, et de tenter d’amener un peu de joie et de vitamine musicale dans un monde post Covid où la polarisation extrémiste, les guerres incessantes et les impacts évidents du changement climatique grisaillent les mines. Cette volonté de créer des capsules de bonheur se traduit par un brassage expérimental d’ambiances, qui se veulent anxiogènes, lumineuses, sombres, et nourries de polyrythmies déferlantes, intimement liées aux innombrables passages complexes de guitares, au jeu de basse sublime et inventif de Nico GOMEZ, aux percussions précises et martelées, et à des styles de chants qui mèneront à l’étonnement.

Un album très orienté « guitares » avec trois pièces instrumentales, qui fait entre l’art rock expérimental et le rock en opposition, grâce au chant féminin bilingue mais pas toujours compréhensible, qui se montre parfois hargneux et revendicateur, mais qui se veut aussi fragile et infantile donnant lieu à des réminiscences du style de BJORK, lorsqu’en style susurré. Elle se marie bien avec la voix masculine, de L'ÉPÉE, si je ne fais pas d’erreur, car je crois qu’il s’agit bien de lui.
Musicalement parlant, c’est plutôt intéressant, vivant, dynamique et original malgré certaines longueurs répétitives dans certains morceaux. Ils ont définitivement un son distinct, où les pincements de cordes poly rythmiques un peu « toolesques » qui se superposent sont une belle carte de visite.
Il y a un certain minimalisme dans les échanges de cordes qui mettent en valeur une maestria étonnante. Au niveau des percussions, il y règne une certaine agressivité, un martèlement méthodique « crimsonien ».
A l’écoute ici et là, on entend de subtils airs de jazz, du classicisme « Génésien », du rock de garage, de la guitare gitane.
Il y a aussi une force notable dans la création de finales qui viennent souvent rehausser ces propositions. Ici et là, lors de l’écoute, mais pour de courts instants, j’ai pensé à GENESIS, TOOL, KNIFEWORLD, GURANFOE, GRYPHON, ISOBAR et Django REINHARDT. Le chant lorsque rageur n’est pas trop ma tasse de thé mais je dois dire que cela donne à certains morceaux un style particulier, comme un genre de « dream folk post punk », mais lorsqu’en mode plus doux, c’est plutôt aguichant.
Un album long, qui se situe autour des 80 minutes, et riche de la cohésion de ses compositions variées et très inventives, qui méritent de multiples écoutes attentives.
Titres préférés : « Get lost » à la « dream pop » progressive, « Entanglement », et les trois instrumentales, « Concretion », « Light As A Cloud» , mais surtout « Strange Particles ». Bonne écoute ! Mario Champagne

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