Tant Que L'Herbe Est Grasse

SKU: 3760090260063
Label:
Private Release
Category:
Progressive Rock
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"Can it be possible that we've got to 2014 without me ever having heard a studio album by Lazuli? Yes, ladies and gents, that is possible, I can assure you. Whilst I vividly remember Lazuli live in Tilburg some years ago in 2007 at the Symforce Festival and actually finding them making a huge impression with their live performance, I simply never got around to either buying nor listening to their studio albums. Shame on me for not doing so. More so as I now fully realise what I have been missing in music for quite some years. What a joy it was to hear the Lazuli sound again and now on a new album as well.

For days Tant Que L'Herbe Est Grasse has been spinning its rounds in many CD players, be it in the car, at work or on my home system. Opener Déraille with its environmentally engaged lyrics gets on its way with a fine rhythm and very varied sounds and immediately draws you deep, deep into the world that is Lazuli's. I must add that Dominique Leonetti's passionate singing and the way his vocal lines, to these ears, are almost an instrument in their own right set them apart from many other bands. It may just be that you get drawn to listening to the lyrics even more and try to understand them that much better.

Une Pente Qu'On Devale has the slightest bit of a Marillion vibe that reminds me a wee bit of the feel of their semi-acoustic tracks like Man Of A Thousand Faces, yet this is more modern and Lazuli rock out towards the end. There's also some fine, fine soloing in there too.

Homo Sapiens just grabs you. It's more ballsy and reminds a bit of Riverside whereas the second half of the song tips its hat to latter day Fish, that is before the band start again and we get a fine Léode solo. The Fish vibe also appears to shine through on Tristes Moitiés and L'Essence Des Odyssées, yet it is not that these songs make Lazuli sound a 100% like everyone's favourite Scotsman; not at all, yet there is a comparison in sound that, to me, flows back to the Raingods with Zippos days. Fish himself features on J'Ai Trouvé Ta Faille where he gets to sing in the second part of the song. Another fine song on this very fine album, but there is plenty more to hear before we actually get to that one, the eighth song on the album.

What Lazuli have delivered here is an album rich in sound and where all band members get to shine, be it individually yet moreover in how much this album is a band effort. On first listen you might find that the songs are just songs, but their build has more to them than appears on first listen. This is an album that grows each and every time you hear it. There are parts that are prog, world music, folk rock, storming out and out rocking moments and they are all brought together in this album. As I once more listen to Tristes Moitiés Lazuli again fully draw me into their realm. What is it that makes albums present themselves as ever growing in beauty? The textures, the soloing, the intricate drum and percussion parts that get to you more and more with each and every listening session. I dare say that this album has all that and, as already mentioned, there is the great singing!

Multicolèlere, a play on the words "multicoloured anger", speeds things up once more and shows a heavier Lazuli. This whole song very much gets to me and perhaps there's another bit of Riverside, but let's just cut to the chase; this band sounds every inch like Lazuli should. And there is only one way to find that out for the not yet initiated and that is to just go and listen to this fine gem of an album. Don't think you can do like me and miss out on one of the finest prog bands around - why should you? You'd be missing out on real beauty. And yes, listen to this album all the way through, you won’t find that hard at all as J'Ai Trouvé Ta Faille is another beauty as is the closing song, Les Courants Ascendants, the only song to reach beyond the 6 minute mark. But count that as an asset that Lazuli have to their songwriting; they succeed in writing compact songs that are all very varied throughout the album." - DPRP.net

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  • "As suggested by its title, 'II' is the second album by multi-national band Corvus Stone. They continue with their merry blend of various musical influences, for an explosive cocktail of colours and sounds. Drummer Robert Wolff is now an official member of the band, while vocal duties were shared between several recording artists of Nick Katona's label, Melodic Revolution Records (later shortened in MRR). Sonia Mota, the biggest David Bowie fan on earth, was involved again for the artwork, as enchanting as on the first album.As announced in preamble of this review, this album is a festival of musical sounds, as diverse as the origin of the musicians involved. While music in general is in the field of progressive rock, it's easy to notice that the band doesn't care about labels. Progressive rock is a means to sublimate their influences rather than an end in itself. Therefore, you will hear pop (the baroque echoes of the harpsicord in the opener with beatlesque vocal harmonies, the pastoral accents of "Eternal universe"). Other popular forms of music are also represented. Let's start with blues-rock. First with the cover of Murky Red's "Boots for hire", where the virile voice is provided by none other than Murky Red's frontman, Stef Flaming, yet in a context slightly different from the original version, through its spacey keys and arabesques. Then, the blues influence is also obvious in the languid "Mystery man", with its eerie keys and reminiscences of The Beatles' "I want you (she's so heavy)" in the closing section. Rock'n'roll is there as well with the hellish "Purple stone" and a short wink to Deep Purple's "Highway star". Folk music, highlighted by the use of finnish in the lyrics ("Campfire"), has also its place in this monumental album. On the other hand, "Uncle Schunkle" with its groovy rhythms and its vintage hammond, recalls the golden age of jazz-funk. And obviously, since Corvus Stone are regarded as a progressive rock act, the instrumental "A stoned crow meets the rusty Wolff" is a piece that goes in this direction, with many rhythm changes and colourful keys. The title of the song is a pun on the drummer's name but might also be a reference to Happy The Man's humorous piece "Stumpy Meets the Firecracker in Stencil Forest". Besides those influences, some dances are honoured throughout the record: salsa ("Scandinavians in Mexico"), cha cha cha ("Mr Cha Cha"), waltz ("Early morning call" with echoes of Stranglers' "Golden Brown"), bolero ("Camelus bactrianus"), flamenco (Colin's guitar opening to some tracks). Moreover, some neo-classical interludes intersperse the album, be it in a mozartian way ("Lisa has a cigar"), or romantic fashion ("Dark Tower"). More surprising is the pastoral symphony in four movements "Moaning Lisa" (two movements in the tradition of british songs of the elisabethan era, separated by a mouth organ-lead boiling instrumental movement, and a final waltz closing the symphony).Besides the lack of interest for any specific label, the band deals with a lot of humour, never grotesque, always delivered with profesionalism. This is made possible thanks to a wide range of keyboard sounds and versatile guitar soloing, among other factors. In fact, keyboard sounds are very diverse, ubiquitous and tasty. While guitar gently weeps with touching short spastic licks, it can also turn aerial, fiery or even delve in a classical spanish realm as seen before. The presence of drummer Robert Wolff on all tracks is an improvement over the previous album. In fact, his play blends the elegance of Barriemore Barlow and the punch of John Bonham, and is instrumental in the support of the music's humorous and eclectic flavours. Vocals are diverse this time, as singers from several MRR acts were invited for the project. Blake Carpenter's high-pitch and sense of derision is tempered by more seriously delivered vocals from his mates of MRR, the whole adding to the versatility of the work.Corvus Stone are a band that don't take themselves seriously, and this aspect should be taken into account when reviewing their works. Thanks to their experience in music, a great musicianship and a sense of humour, they deliver a music that is heartfelt, not dictated by any trend of the moment, and that will put a smile on your face and certainly make your day." - ProgArchives
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  • Produced by Stephen van Haestregt (Within Temptation, Ambeon). Additional production & mix by Oscar Holleman (Ayreon, Krezip, Within Temptation) at Studio RS29, Waalwijk, The Netherlands.What can you possibly do when you released the most sensational Metal debut of the year 2000? Actually it’s quite simple. You have a repeat performance of swaggering grooves on the next album as well.Decipher doesn’t politely draw your attention – it simply grabs you by the throat. Even more so than on Prison Of Desire the classical orchestra and choir and the more than impressive sound of the band itself have been forged together at superhuman temperatures. As a result the “Heavenly” elements appear to have embraced the scorching hellfire amalgamating into a fascinating alloy.For almost sixty minutes the flawless soprano of singer Floor Jansen reverberates the blaze of the ferocious nether world, which forms the breeding ground of the unconventional songs on the album. A world that abundantly proves that After Forever has grown. In every aspect.After Forever sounds as After Forever!DeLuxe 2CD Set in Digipack, Original Album & Artwork, Extensive Booklet,31 Remastered Tracks = 11 tracks Original Album + 20 Bonus Tracks,over 150 minutes of Gothic Metal!Non-Album Tracks, Unreleased Versions, Sessions & Demo’s.featuring: Mark Jansen: EPICA, Sander Gommans: HDK & Trillium and Arjen AYREON Lucassen.The original Dechiper album sold over 120.000 copies.Liner notes by Sander GommansTrack listingTMD-069 AFTER FOREVER – Decipher: The Album - The SessionsChapter 1 -  Decipher: The Album1. Ex Cathedra 2:02 -Ouverture-2. Monolith of Doubt 3:313. My Pledge of Allegiance #1 6:25 -The Sealed Fate-4. Emphasis 4:18 5. Intrinsic 6:446. Zenith 4:217. Estranged 6:55 - A Timeless Spell-8. Imperfect Tenses 4:08 - duet9. My Pledge of Allegiance #2 5:07 -The Tempted Fate-10. The Key 4:4711. Forlorn Hope 6:21Bonus Tracks12. For The Time Being 5:0413. Who wants to Live Forever 4:48 – feat Ayreon14. Imperfect Tenses 4:10 – duet with Damian Wilson15. Monolith of Doubt 3:32 – Single Version16. Imperfect Tenses 4:06 – Orchestral VersionChapter 2 – Decipher: The Sessions1. The Key 4:422. Monolith of Doubt 3:313. My Pledge of Allegiance #2 5:024. Emphasis 4:175. Estranged 6:536. My Pledge of Allegiance #1 6:207. Imperfect Tenses 4:05 (vocals Floor only)8. For the Time Being 5:029. Forlorn Hope 6:2010. Zenith 4:1811. Intrinsic 6:5612. Who wants to Live Forever 4:48 (Ayreon only)13. Monolith of Doubt 3:43 – Demo14. Emphasis 4:30 - Demo15. For The Time Being 5:09 – DemoREMASTERED IN THE 24-BIT DOMAIN FROM THE ORIGINAL MASTERS
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  • "It has become patently unfair to review a Luca Turilli creation as a “metal album.” No matter what you call it… “cinematic metal,” “symphonic metal,” “classical metal” – Turilli composes musicscapes beyond comparison. While he will never be held to the unattainable standard of a modern Mozart and Beethoven – the giants who receive 100% critical acclaim whether deserved or not – Luca can easily draw comparisons to modern composers like John Williams, Hans Zimmer and Jerry Goldsmith.With his composition company created, his ability to mix both old world classical and modern/new world classical with metallic elements is unprecedented in heavy metal. This music transcends the metal world and thrusts deeply into mainstream music and movie soundtrack lore. On “Prometheus – Symphonia Ignis Divinus” – Turilli uses both dark and light elements, a real combination of “Prophets of the Lost Eclipse” and “The Infinite Wonders of Creation,” to create a stunning masterpiece that trumps the impossibly towering “Ascending to Infinity.”It is literally pointless for fans that do not enjoy meticulously orchestrated cinematic metal to run out to buy “Prometheus,” so just stop right here. Long time Luca fans, read on! Imagine, if you will, being on board the Hollywood backlot tram tour, only its much cooler than you can imagined. As you pass by various sets for movies like “Solomon” (with “King Solomon and the 72 Names of God”) “Lord of the Rings” (with “One Ring to Rule Them All”), “Valhalla Rising” (with “Yggdrasil”) – you are whisked away on a musical journey that is a rich and pure as the breathtaking mountains, valleys, lakes and oceans. Luca creates music that conjures images teaming with life that flash on every note, which is as extraordinary as the breathtaking compositions themselves.After the accident that nearly took the hand and career of guitarist Dominique “Dodo” Leurquin, his presence on “Prometheus” is a both relieving and required. It’s also a welcome sight to see drummer Alex Landenburg (21 Octayne/Mekong Delta), who joined the band before the release of “Ascending Into Infinity” in 2012, but who hasn’t played on a release until “Prometheus.” A favorite skin basher for many years, it’s a triumphant display from one of the best and hardest working in the business. Sound wise…albums do not get much more pristine.With Luca at the helm along with his team of Sebastian Roeder (recording) and Christoph Stickel (mastering) – “Prometheus” is a sonic jewel. Having freed himself from the binding storylines of the pre-split Rhapsody/Rhapsody of Fire days, Luca seems bent on raising the bar with everything he does – becoming part opera, part soundtrack, part metal, part symphony.Where tracks like “Rosenkreuz,” “Prometheus” and “Yggdrasil” ratchet up the heaviness that metalheads expect (notably those fans who have become disillusioned at the orchestrated distractions away from guitar), other songs bring a beautiful “non-metal” element, best represented through “Il Tempo Degli Dei” – which has quickly grown to be the go-to favorite after a mediocre first listen (it sounds immensely happy) – and “Notturno,” the operatic ballad showcasing uber-talented vocalists Alessandro Conti and Fench soprano Emilie Ragni.Once again, the album’s keystone monument is “Of Michael the Archangel and Lucifer’s Fall” – this time with the second part, subtitled “Codex Nemesis.” Remembering greatness levels reaching stupid proportions on “Ascending to Infinity,” the second part matches but comes from a different melodic angle.Overall, “Prometheus - Symphonia Ignis Divinus” ties elements from all of Luca’s previous efforts – with a heavy dose of “Prophet of the Last Eclipse,” nods to the Dreamquest release “Lost Horizons,” and a victory lap from “Ascending to Infinity.” If you are a fan of Turilli, there is little doubt you will gush all over “Prometheus.” If you find the cinematic, operatic and symphonic elements a little too over the top for your metal cravings, then steer clear. One thing is certain, the only composer on earth who can top Luca Turilli is the man himself.Highs: High expectations realized from the world's best composer.Lows: With Luca's Rhapsody, either you find it amazing or way too over the top to be respectable.Bottom line: "Prometheus" may seem like an "Ascending to Infinity" victory lap, but it goes way deeper than what you hear on the first listen." - Metal Underground
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