| The
Review |
It's a capital D that rhymes with V which stands for Vendetta.
In other words, it's a rebellion against all that's average
and illegitimate in the mainstream.
Newcomer Stephane Desbiens (vocal, acoustic and electric
guitars, keyboards, and mellotron) is a shot of bright light
on a very dim night. Just when you think there's nothing new
and fresh, along with Frost* and GPS, he joins in on the fight.
He also brings some elite talent into the incursion. Riding
along on this raid is the likes of Tomas Bodin (The Flower
Kings), Martin Orford (IQ), and Fred Schendel (Glass Hammer).
You couldn't request a more influential band of leaders on
the frontline. Assisting in the ancillary role is Mathieu
Gosselin (bass, stick bass), Danny Robertson (Drums), Sandra
Poulin (violin), and this secret entity named Alyssar (back
vocals). Each one adds some impressive elements of their own.
Then there is Francis Foy who produces and co-writes, and
even incorporates some backing vocals. It goes to show you
can accomplish a lot when you have a large circle of friends.
The only downside is that the production is a tad too
grainy. Otherwise, it seems to work for all intents and purposes.
The only recommendation I could make is for them to utilize
a certain buddy of Bodin. That would be Jonas Reingold, who
also happens to be a fellow Flower King's mate. He could fine-tune
the mixing and mastering as well as fire up his bass. Reingold
has repeatedly put out productions so clear you could hear
a pin drop and let's not forget how well he channels his instrument.
Then again, the cleanliness of these quarters isn't necessarily
why you'd make the visit. Whether ancient or up-to-the-minute,
The D Project gives you passage into an esteemed castle. With
every threshold you cross, you're sure to find unparalleled
pleasantries in the corners of these cuts.
Let's give the schematics a thorough inspection before
anyone opts to surround this bastion of bliss:
"Shimmering Lights" - As Monty Python used to say, this
is something completely different. You have no idea what you're
getting into until you're a whole four minutes into the campaign.
I wasn't sure if this was RIO, a warm-up, or an onslaught
of instrumental bedazzlement. It's a lot like The Art of Noise
with a famous quote from John F. Kennedy integrated into its
bare middle. I really enjoy the music when the vocals pour
in. Hopefully, my heads-up won't be seen as a spoiler. I found
the beat to be eighties punk with dribbles of computer-looping
and commercially-driven riffs. In the atmosphere is an air
of Depeche Mode and New Order. It also has an edgy aroma of
Echolyn and Izz. I even sort of hear Longshot's "The Cosmic
Bacteria's Experiences" towards its end in some of the guitar
and keyboard arrangements. I'm speaking out of turn as I have
only heard this out-of-print masterpiece solely through a
selection of hard-to-find samples. Regardless, it instantly
makes me think of that genetically frenetic and fantastically
fanatic fabrication... Now that's a mouthful!
"They Come And Grow" - This has the huff and puff of a
dragon along with the dregs of Led Zeppelin. In addition,
I hear The Tangent in their coldest impersonation of an era
long passed. They seem to follow the path of a catchy Canterbury
sequence. It's also easy to imagine the last letter in RPWL
settled somewhere in the vicinity. It's as if Yogi Lang were
floating within the viscous volume coddled inside this diaphanous
vial.
"Hide From The Sun" - This is where Bodin first appears.
I was really looking forward to seeing what he would do in
this endeavor. His melodies are faint, but it's the moisture
in the flakey brownie that provides the important aftertaste.
Not to mention, it's the only place where Foy lends his voice,
so you know it must be special. This song is a mix of Flower
Kings, Riverside, Violent Femmes, and Herbie Hancock. It's
really that odd of an incarnation, but still the chemicals
blend well. It has just an ounce of lead in its paint and
a hint of hardcore metal in its texture. As a secret ingredient,
there is whispering that actually transcends into singing.
For this reason, I found it to be very Phil Collins-esque
at times.
"What Is Done Is Done (Rat)" - The title of this track
makes no sense to me, yet it provides a fast-acting fix. Suffice
to say, it's over before you know it. If you're keeping your
eye on the clock, you'll miss it. Nevertheless, it offers
a short reprieve from the rhythm. In this time out, you're
allowed enough of a stretch to unwind and catch a gulp. Then
again, it's belligerent and seems to purposely lack class.
At times, it eats like a pig and act like, well, let's just
say it'll make my mongrel happy. With that said, it has a
touch of the female persuasion.
"End Of The Recess" - Orford is an artist who greatly
undersells himself. Go no further than this song to find conclusive
proof. His incantations are partly elfin magic and to some
extent, enchanted moon dust. It certainly supports my supposition.
He's a keyboard wizard and a true star. It's as if he hardly
needs to import any effort in order to glimmer. This song
spins in synch with Karmakanic's "Wheel Of Life."Again, I
must wonder, "Where is Reingold?" If it's any consolation,
it's unquestionable that this has a Swedish connection.
"September Solitudes" - I'm impartial to this piece. I
really enjoy Bodin's subtle hand-outs. This piece has Porcupine
Tree, Pineapple Thief, as well as a foggy mist of other translucent
dreams in its midst.
"That's Life" - This is louder and rougher than the others,
but I'll be darned if don't like it. Schendel puts some of
his best progressions to the test. He plays Mini-Moog and
Nord Electro keyboards through a “ring” modulator and a Leslie
Simulator. You could say this complex arrangement is done
on a one-of-a-kind device. When it comes to progressively
pious pieces, this is the one that rules them all. It has
oomph, as it seems to be a lighter variation of Time Requiem,
Opus Atlantica, and Anderson's Space Odyssey. Oddly enough,
it finishes in same manner as Transatlantic's first album.
The fast wrap-up concludes the affair like a circus extravaganza.
In retrospect, the first couple minutes of the album are
terse and tense. It was tough to settle in at the beginning.
It doesn't grab hold of you immediately, but on subsequent
listens, it fits as if it's that obscure piece you need to
finish a puzzle. I found myself liking the music more as it
went on. Each time I try again, it burrows incrementally deeper.
While Frost* tricks us with an instrumental opener, it fools
us in a totally different manner. You'll find yourself startled
by the revelation, but not just by the fact it incorporates
vocals. Like an underground coaster (see Mt. Olympus' Hades)
it has unexpected passages and twists, which makes the ride
awfully thrilling and a lot of fun.
Typically, the best song is the title track and it comes
on at random. In the case, it's not only the opener, but it's
also decent. However, I wouldn't call it my favorite. I'd
have to say the two I liked the most both include maestro
and ace Bodin. I felt these were the finest in the set. Regardless,
I give this author credit for plagiarizing nobody and repeating
nothing. In Desbiens' quest to make some newfangled fantasy,
he finds victory in his debut. I'll be interested in seeing
what triumphs lies ahead for this artist.
D is dubious; maybe even a wee bit deranged, but D stands
for ditties that abound with creativity. In essence, D is
for Delightful.
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