Une orgie rock 'n' roll
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Une orgie rock 'n' roll
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VA: SAMPLERS
VA: CONCEPT ALBUMS
VA: TRIBUTES
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PROG SHOPPING:
Doug Larson's Imports
Studio Album, 2012
3.53 | 55 ratings
BUY
Studio Album, 2018
3.67 | 52 ratings
BUY
Studio Album, 1974
3.98 | 328 ratings
BUY
Studio Album, 1972
3.80 | 150 ratings
BUY
Studio Album, 2018
3.67 | 52 ratings
BUY
Studio Album, 2018
3.67 | 52 ratings
BUY
Year after year, decade after decade Ange remains Ange. Times change, but the protagonists of French prog scene are
still on the road - and still unique. Their new studio album seems to have been conceived and done under the tag 'no
more time to waste'. Indeed, they wasted a lot of time during their 50-year history. Their milestones are the early glorious
'theatric progressive' era from Caricatures to Guet-Apens, then Seve Qui Peut, then Le Bois Travaille, Meme Le Dimanche.
This is the classics of French prog, a bunch of masterpieces. But what was between? The fruitless rocky/poppy 1980s
period from Vu D'Un Chien to Tout Feu Tout Flamme, then 1990s-2000s albums, all of interest but... of moderate interest,
let's say. And finally, the current era started with brilliant Le Bois Travaille, Meme Le Dimanche, continued with less
impressive but still excellent Moyen-Age - and now, with Heureux!, their brand new studio release. It was evidently made
1970s-like on purpose, it's clearly seen... sorry, clearly heard in the music. But the album is not similar to the band's
1970s releases. It's as excellent (if not better) as, for example, Au-Dela Du Delire or Par Les Fils De Mandrin, but musically
far from both. It develops the tendencies started with Le Bois Travaille, Meme Le Dimanche, but also brings new ideas, so
in total Heureux! is rather revelation than reminiscence. Almost every track is a highlight. (I'd say especially Nancy-
Jupiter..., but maybe it's just due to my personal addiction to epic suites?) Echo from 1970s - and new musical horizons
for the band at the same time. Everything sounds classic - and everything is new, fresh, innovative, inventive,
explorative... and substantial. Even a risky musical experiment from Ange quickly becomes a model to follow, Christian
Decamps and his colleagues know very well how to do this. Looks like the period started in 2010 in the band's life is even
more interesting than expected.
Studio Album, 1973
3.54 | 194 ratings
BUY
Studio Album, 1974
3.98 | 328 ratings
BUY
Studio Album, 1973
3.54 | 194 ratings
BUY
Studio Album, 1978
4.01 | 158 ratings
BUY
Thanks to ProgLucky for the artist addition.
and to Quinino for the last updates
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Indeed, the album starts with four tracks of uneven quality, and then continues with the eponymous "Moyen-Âge", eight very good tracks to which they should have added, in my opinion, "Opéra-Bouffe Ou La Quête Du Gras" which would have been in perfect harmony with the deliberately polemical tone of the album.
Indeed, this is a committed work in which the excesses of the digital world are denounced ( "Les Clés du Harem" ), as well as the inadequacies of political power in the face of growing social inequalities ( "Un Goût de Pain perdu" ) or the confinement of the individual in an egotism encouraged by the new technologies ( "A la Cour du Roi Nombril" ; see which refers to the cover showing an individual curled up in a fetal position, sucked into the emptiness of his existence, clutching his mobile phone and wearing a disturbing-looking earpiece).
Nothing surprising for those who know Christian Décamps, who is used to punctuating his concerts with diatribes inspired by the woke left and who never loses an opportunity to vomit on religions, Christianity in particular, while Islam remains a taboo subject for him, either out of sympathy or out of caution... The album is also sprinkled with more or less open allusions to eminent public figures, among whom the French listener will easily identify the former President of the Republic Nicolas Sarkozy and his wife Carla Bruni, as well as Dominique Strauss-Kahn, the former president of the IMF.
In conclusion, an album that contains some very good tracks, but that misses the excellence for lack of a more accomplished overall vision. It's therefore difficult to decide between three or four stars, and it's finally the last track, "Abracadabra" , a wink to their 1976 "Hymne à la Vie" , which finally inclines me to give it the fourth star.
social review comments | Review Permalink
Posted Tuesday, April 13, 2021 | Review this album | Report (Review #2534972)
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Posted Thursday, January 30, 2020 | Review this album | Report (Review #2310735)
The first short piece is more dramatic than it is good due to organ and vocals.
"Les Longues Nuits D'Isaac" is a decent dark-sounding piece balanced by melodic singing as well as unusually dramatic
vocals.
The third song is marred by unbereable vocals in the main focus that overshadow instruments.
To rescue comes a subdued "Balade Pour Une Orgie" that hints at medieval influences.
"Exode" has a celebrational feeling. Acoustic guitar duo with organ in the background and normal singing voice are
welcome change. The intensive part with propulsive drums and strong organ reminds of early Genesis.
"Fils Du Lumiere" is another dramatic but catchy number that is well arranged in its 4-minute length.
The tile song features unusual medieval time signatures in the first half. Then, suddenly and quickly, a relaxing outro
theme with dominating guitar starts and lets listener enjoy repetitive but graduating loops of solemn progressive rock
music.
This album is on par with the debut album and yet they are quite different in terms of composition, ambitions and style.
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Posted Saturday, August 3, 2019 | Review this album | Report (Review #2241664)
The first album came out relatively late for progrock pioneers - in 1972 but quite ahead of most of progressive rock
debut albums such as Genesis to Revelations or first Yes album.
The album features creative keyboard-guitar interplay, quality drums and special dramatical vocals that are an acquired
taste. I can hear certain common elements in the instrumental keyboards between Ange and Italian progressive rock
school.
That is evident in the first fine instrumental ouverture.
Vocals join in the second track "Tels Quels" and shape the dramatic and perhaps rebel side of things. Keyboard oscillate
between structured chords and keyboard fiddling. Guitar work is dynamic.
"Dignité" is an elegant track with some symphonic influences such as marching rhythm, organ mood. Vocals is more
stripped down. The mellow piano-flute part is very pleasant.
This is my favourite track on the album along with the first track.
The fourth track "Le Soir Du Diable" is a contrast of acoustic guitar and mellow organ to busy drumming - quiet before
the storm?
The last, title track starts with annoying monologue before giving way to keyboard intro. Organ and moogs dominate
the first song half before a cresciendo to a dynamic even jazz-driven middle part and turning into more conventional
sung section that has its vocal lows and peaks.
3,5 stars but I will round it to 4.
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Posted Friday, August 2, 2019 | Review this album | Report (Review #2241663)
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Posted Monday, March 5, 2018 | Review this album | Report (Review #1891163)
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Posted Monday, March 5, 2018 | Review this album | Report (Review #1890932)
Review by
DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams
Just from the beginning of the first shot "Ces Gens-L'" we can get impressed with heavy percussion, deep mellotron, and theatrical voices.
Their play in this album is not so skillful nor technical as upon their following creations, let me say, but unique sound innovation should be
considered as a fantasy. It's quite amazing and interesting for us to imagine that such a fanatic fantasy be generated mainly by D'camps
brothers (especially Christian's voices and Francis mellotron). And above mentioned, G'rard's percussion or drumming reminds us of
massively echoic Hal Blaine's world. Apparently his drumming in one of ANGE's early pop masterpieces "De Temps En Temps" must be
inspired by Hal and Phil. The last titled track is exactly a rock kaleidoscope, with mysterious phrases, weird keys, and mischievous
moments.
From the beginning to the end, we cannot escape out the dreamy, and a tad sarcastic space. Have not experienced (and will not
experience) this identified, innovative creativity.
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Posted Tuesday, September 5, 2017 | Review this album | Report (Review #1779702)
Ouch and ouch again. What a blast! In terms of theatrics we all know Peter Gabriel, Ian Anderson, Fish, Matthew Parmenter or
recently Gerrit Welmers of Future Islands. But the real McCoy, the supreme mogul of intensity is Christian Décamps. He is,
period. The guy is simply a volcano, a massive erupting volcano of entertainment. Even pushing 60 years old, go see him on
YouTube; it's uncanny.
That band is to me, the scariest I've listened of my whole life. The lyrics are out of this world, flirting with madness. And when I
say madness, I'm evoking creepy imagery . Such a clever and graphic poetry has to be the work of a genius\ madman. And that
atmosphere! It's like walking in a Lucio Fulci colorful fog, but scared out of your mind. Tough to find words, but the organ effects
they use is chilling to the bone.
Incredible band to say the least: fantastic lyrical imagery, intense\ gripping atmosphere and the best frontman this side of the
Universe. I'm simply baffled by their level of intensity and dramatics. They are clearly influenced by Genesis, but they
appropriated themselves the formula and refined it a la Française giving themselves a true calling card.
When we think of France, we think more of fine foods than rock n' roll legends, but these guys are simply exceptional. The real
deal.
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Posted Wednesday, June 7, 2017 | Review this album | Report (Review #1731234)
Second studio album by the French proggers, "Le Cimetière Des Arlequins" was the first ANGE album I
listened to and still remains my favorite today. Why? Maybe because of its overall particular hazy
and mystical atmosphere the music delivers through fantasy, haunting and mysterious ambiances. This
impression is mainly due to the predominance of the band's unique spacey mellotron-like sonority,
created by Francis Décamps by reverberating a Viscount organ through a Hammond organ. More modern
than its predecessor, the disc was very innovative and exciting for 1973 - especially considering
the French rather radio-friendly musical landscape at the time - but sounds quite dated nowadays.
ANGE is often referred as the French GENESIS, but is this really the case? I can understand this
comparison, as there were not many known symphonic prog bands in France in the 70's, however I do
not find it entirely right. If you're a newcomer, a better description of the Décamps brothers and
co.'s compositions would be something like 'chanson
française-meets-medieval-meets-space-and-symphonic-rock', with more emphasis on eerie keyboards and
theatricality than on virtuoso guitars and breathtaking passages. Furthermore, the tracks are
shorter, with more conventional durations. The important word is: atmosphere.
The record opens with the surprising spacey cover of the famous Jacques Brel's song "Ces gens-là".
Nice and original, ANGE chose not to include the "Frida" section, whose glorious and positive tone
and lyrics contrast with the rest of the track. Once again, the band prefers to focus on satire.
"Ces gens-là" will be released as a single and will be their first success, making them famous in
France. Supported by the flute and somber organs, the medieval "Aujourd'hui c'est la fête chez
l'apprenti sorcier" possesses an unusual progression. Alternating calm and even heavy guitar riffing
passages, this composition is really good. Despite its repetitive and irritative beginning, the
mysterious and haunting "Bivouac Première Partie" is quite pleasant, with a unexpected acceleration.
On the contrary, "L'espionne lesbienne" is easily the weakest song of the disc. A boring sexual
delirium.
As its title suggests, "Bivouac Final" begins where "Bivouac Première Partie" ended. A powerful and
somber kind of space rock. Then comes one of the few moments with a hopeful tone in this album, "De
temps en temps". This lighter composition is pretty, but its ending is completely out of place.
Inspired by Van Gogh's painting "Road with Cypress and Star", "La route aux cyprès" is an acoustic
pause, where Christian Decamps and Daniel Haas plays a relaxing peaceful tune. Longest song of the
record, the 9 minutes title track is also the darkest and features various ambiances: a little
eccentric, gloomy and even scary as hell! Enjoyable although a bit uneven.
With "Le Cimetière Des Arlequins", ANGE defines its own style and identity: a magical elixir of
medieval, spacey, spooky and symphonic progressive poetry, with slight heavy touches. Fairytale
organs and some guitar riffs create a somber and mysterious atmosphere serving a theatrical singing.
This second opus from the Frenchs may well be their most sinister and spaciest offering, and
therefore possesses its own particular charm.
For all these reasons, "Le Cimetière Des Arlequins" is my personal favorite from the Décamps
brothers and co., as well as the only ANGE studio album I really appreciate. Check it out if enjoy
symphonic prog, space rock and haunting hazy musical tales...
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Posted Sunday, July 31, 2016 | Review this album | Report (Review #1593063)
Review by
Progfan97402
Prog Reviewer
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Posted Sunday, June 21, 2015 | Review this album | Report (Review #1429183)
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mardi 27 septembre 2011
à
14:35
| Publié par
S_hade_
"... Ils étaient aussi connus pour terminer leur programme par une orgie de destruction apocalyptique, fracassant guitares, baguettes de batteries et amplis jusqu'à ce que la scène soit jonchée de débris d'équipements..."
It's only Rock'n'roll mais là c'est saupoudré d'un zeste de chaos qui n'est pas pour me déplaire.
Sur cet album on est assez proche du Led Zeppelin des débuts entre blues rock crade, hard rock mais les années 67/68 semblent déjà loin, et dès l'entame du premier morceau Keith Moon annonce la couleur avec une batterie de feu. Le son est brut, crade, gras ; la production minimaliste contribue à mettre en lumière le côté furieux du groupe, Daltrey chante comme un bluesman déjanté, la guitare de Townshend n'a rien à voir avec celle des albums studio..., une guitare électrifiée comme jamais. Quant à la rythmique elle est tout simplement grandiose! Ce live a été enregistré dans une petite salle, avec seulement 2000 spectateurs privilégiés (mais ils ne le savaient pas encore les veinards), afin de mieux capter l'énergie dévastatrice du groupe « on stage » . Pour la première face, qui sonne vraiment hard blues à l'image de la reprise de Johnny Kidd and the Pirates "Shakin' all over", mes préférences vont à « Subsitute » l'un de mes moreaux préférés du groupe, le seul titre presque "léger" du disque et « Young man blues » qui ouvre l'album, et donne le la avec son riff très hard et Daltrey qui rappelle Plant ! « Summertimes blues » est très bonne reprise certes mais peut-être le titre le moins indispensable du live (j'aimerais bien savoir ce que Eddie Cochran aurait penser de cette version). Mais que dire de la seconde face : l'extase !! Un déluge décibels qui vous électrise. « Magic bus » qui clôt l'album est bonifié par rapport à sa version studio, sans être trop long, jamais ennuyeux, plein de petites trouvailles ici ou là, c'est enlevé, nerveux, endiablé mais jamais pompeux (comme parfois peuvent l'être en live Led Zeppelin ou Deep purple lors d'expérimentations techniques un peu longues et ennuyeuses, et pourtant j'apprécie ces groupes). Mais que dire de « My generation » la pièce de choix de ce live ; certes le titre peut – en théorie – paraître long (14 minutes) mais quelle claque, une version époustouflante qui démarre d'une manière proche de la version studio de 1965 mais qui monte en puissance et s'avère au final apocalyptique, l'apothéose de l'album, une fougue rarement égalée à l'époque en concert (à part le MC5 dans un autre registre) et on voit finalement pas le quart d'heure passé (il faut dire que le groupe en profite pour greffer rapidement quelques passages d'autres titres que je vous laisse découvrir). Ici on sent la sueur, on sent que les musiciens jouent avec leur tripes, l'authenticité crève les yeux et les oreilles. "Live at Leeds" est sans contestation possible l'un des meilleurs albums live de l'histoire du rock, là où la furie rock est captée magistralement. Je pense aussi que le groupe était alors vraiment à son apogée, et puis on a beau dire c'était une autre époque, exubérante où concerts rimaient souvent avec démesure... Excellent donc mais avec juste un petit bémol : dommage en effet que sur les six titres présents on ait trois reprises (au demeurant très réussies, reprises de titres blues ou rock'n'roll 50's ou 60's) et seulement trois morceaux standards originaux (j'aurais aimé entendre d'autres classiques du groupe par exemple « I can' t explain », même si cela peut paraître anecdotique. Toutefois quand on connaît la richesse qualitative et quantitative du répertoire des Who, bien étoffé en tubes et classiques, c'est un peu étonnant. Malgré tout un sommet musical et un album qui doit être écouté comme étant l'essence même du rock et de ce qu'il ne devrait jamais cesser d'être.
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Thème Awesome Inc.. Images de thèmes de Ollustrator . Fourni par Blogger .
Une fête d'échangiste excités
Française plantureuse en pleine baise
Une rousse cochonne fait de l'anal