Narcissus Goes to the Moon Reviews

Visible Wind: Narcissus Goes to the Moon (1996)

J'ai demandé à mon fils, qui aura bientôt dix-sept ans et qui est entré de plein fouet dans sa phase « prog rock », comme en témoignent les relents de Pink Floyd et de King Crimson qui traversent régulièrement la porte de sa chambre jusqu'à mes oreilles, quel pourrait être le prochain disque dont je bloguerai en ces lieux, en lui demandant d'éviter les lieux communs (Dark Side of the What?). Il m'a suggéré cet aimable opus que je possède depuis près de dix ans, et qui, ma foi, a si bien vieilli qu'il a fait un retour dans notre programmation régulière à la faveur de l'engouement récent du fiston pour ce genre musical. La suggestion m'apparaît d'autant plus pertinente que nous avons affaire ici à des artistes québécois, que l'album semble toujours disponible, et que le groupe, inactif depuis maintenant un quinquennat, aurait bien besoin d'un petit encouragement. Partons donc faire un petit tour sur la lune!

Visible Wind est un groupe dans la plus pure tradition du rock progressif des années 70, qui affiche fièrement les influences de King Crimson et du Genesis de Peter Gabriel, principalement, et d'un tas d'autres groupes du même acabit. On pense, dans le même genre, à des groupes comme les Flower Kings ou Glass Hammer, dignes hérauts de la nouvelle génération progressive. De tels groupes se font généralement affubler de l'épithète « néo-prog », qui passe pour péjorative chez certains, et comme un gage de qualité chez d'autres, mais rarement pour un signe d'originalité, soyons honnêtes.

Ce n'est donc pas un disque que l'on abordera dans un esprit de découverte, mais plutôt par nostalgie pour une certaine époque, ou encore comme on s'attable à un restaurant dont on connaît le menu par coeur. Pas de surprise, donc, mais, bonne nouvelle, on a droit à un programme relevé. D'emblée, on a affaire à un album bien ficelé. Le son est équilibré, l'espace sonore bien rempli, admirablement charpenté par les claviers robustes et délicieusement antiques de Stephen Geysens, et la batterie puissante de Luc Hébert. Claude Rainville, à la guitare, et Louis Roy, à la basse, sont d'une compétence irréprochable.

Toutes les chansons, sauf une, sont en anglais et livrées par Geysens avec un accent québécois qui fera sourire les compatriotes et que les Anglo-Saxons croiront peut-être italien (pour reprendre une plaisanterie de Serge Fiori à propos d'Harmonium). Mais qu'importe: qui remarque l'accent suédois de Roine Stolt des Flower Kings? Le claviériste, sans être un grand chanteur, se tire bien d'affaire dans son deuxième emploi. La chanson en français passe très bien et l'on se dit que le groupe aurait peut-être avantage à exploiter le marché francophone. C'est d'ailleurs ce qu'ils ont fait dans leur album suivant, qui comporte 60% de chansons en français, mais que je n'ai pas entendu.

La musique elle-même est bien rythmée, mais plutôt mélancolique, une combinaison qui peut s'avérer un peu fatigante à la longue, et l'on sort de l'écoute de soixante-huit minutes prêt à passer à quelque chose de plus léger. Le groupe partage ce petit défaut commun à bien des groupes « prog » de se prendre peut-être un peu au sérieux. Disons que ce n'est pas un disque que l'on va écouter en boucle, mais je dirais la même chose de Fox-Trot de Genesis ou de In The Court of the Crimson King, de King Crimson.

En bref, si vous être friand de ce genre et que vous vous sentez disposés à encourager des artistes d'ici, dites-vous que l'on a rarement fait mieux sur la scène prog québécoise. On en prendrait d'autres comme celui-là.

Publié par Allan Tremblay à l'adresse 23:13 1 commentaires

Catégorie : Rock progressif

Yet another great Canadian progband has reached my desk.
Visible Wind, has 5 albums to their name and if this album “ Narcissus goes to the Moon” are anything to go by, I most certainly will have to get my eager proghands on the rest of their catalogue! Fellow reviewers tend to seem that VW are derivative of Rush/Saga, i cannot subscribe to that notion.

But what I can subscribe to, is that these guys are extremely talented and have (to my ears) quite their own style. They
play very convincing and powerful progrock and blend that with some fine ballads and more quiet pieces. There are plenty of great keyboardplay (including Mellotron) by Geysens, who also delivers some fine vocals (and lyrics).
Rainville, delivers some excellent guitars, sharp spot on chords, delicate acoustic (listen to the intro on: “Intravenus”) but also some fine trimmed solo guitars! I must also mention the tight and very sound foundation delivered by Roy/Rickenbacker bass and Hebert/Drums.

The lyrics are sung in both English and French, which works just fine for me! Surprisingly enough, given the time
this cd plays (71:37 minutes), not one moment was boring, actually i went for the replay button several times.

Special mention to: “The Awakening” an epic track of great proportions (20:59 min.) a track which sums up all of the abowe features! This is a GREAT album by any standard!! Now, if you´ll excuse me, I must visit my local record pusher, searching for more Visible Wind music!! While we are at it, why dont you do the same?! No serious progcollection should be without Visible Wind!!!

Reproduced from: http://www.progplanet.com/index.php?categoryid=48&p2_articleid=454

Quatrième album du groupe qui présente 70 minutes d'un rock symphonique à la fois raffiné et vigoureux. Visible Wind montre ici cohérence et unité dans le son et les compositions quelles que soient les influences. Structurellement, les pièces de résistance qui culminent avec "The awakening" sont reliées par des intermèdes climatiques et bruitages très bien pensés. Cet album alterne puissance rock et apesanteur mélodieuse, quelque part entre Pink Floyd pour les claviers planants et Camel époque Moonmadness. Cela tient au chant sobre de Stephen Geysens et aussi à ses claviers : mellotron à foison, solide moog dans le style délié et précis de Bardens. Le groupe ajoute du violon, de belles parties de flûte, une modernité affichée pour les guitares et la rythmique assez appuyée, des mélodies chatoyantes pour obtenir une œuvre conceptuelle rappelant les années 70.

For those who don't know of this band you are surely missing out! VISIBLE WIND are true 100% professional Prog rock outfit very much in the vein of SAGA/RUSH but certainly have their own musical personality. "Narcissus..." contains some excellent prog moments with exceptional keyboard and drum interplay which will please all prog fans. VISIBLE WIND have written some highly memorable prog tracks over their tenure and "Narcissus..." is no exception. Their songs are very melodic and musicianship is very high. This is a great addition to the Musea catalogue and I can promise that after you hear "Narcissus Goes To The Moon"... "Your Whole World Will Change". Highly recommended by this prog lover.

Released in 1996, Narcissus Goes to the Moon remains Quebec progressive rock band Visible Wind's finest hour. This fourth opus saw them in full control of their musicianship. Creativity was at its peak and, now owning its own studio, the band had a chance to develop its musical ideas further, resulting in a musically cohesive album, where every song segued into, or at least related to, the next. If it had not been for the unexpected demise of the Kozak label, this CD could have introduced them to a more international prog audience. Stylistic references on Narcissus can be summed up with two names: early Camel and the Flower Kings. Bubbling synthesizers, solid guitars, and angular rhythm patterns balanced out by infectious melodies are the essence of highlights like "Fuzzy Concept," "Xenophobia," and the 20-minute epic "The Awakening," all tracks that will appeal to any fan of the aforementioned artists. Indiscipline violinist Jean-Philippe Goulet guests on the epic. The album includes one song in French ("Intravenus," plus one section of "The Awakening") -- everything else is in English. Sound quality is a bit mute and heavy on bass, a recurring problem on Kozak's productions (it plagued the CD reissue of Maneige's Ni Vent Ni Nouvelle). Narcissus Goes to the Moon is the most serious prog rock album to come from Quebec during the 1990s. ~ François Couture, All Music Guide

What's the first thing that pops into your mind when you take a look at this CD from an unknown band to you which cover is a primitive drawing that describes a peculiar out of space character dressed up in this red jumpsuit holding a laser gun? Yeah, I might have thought the same as you. That's exactly the kind of reactive emotion VISIBLE WIND gets to set inside your eardrums and through every single fiber your body has got. This was my preliminary encounter with the Canadian threesome and I have to remark it was outstandingly surprising. The Quebec natives conveniently compass everything, just everything, in this fourth album; and I'm about to tell you why of my perception.

VISIBLE WIND was originally formed back in 1983 by talented multi-instrumentalist Stephen GEYSENS and prominent drummer Luc HÉBERT, who later on, in 1988 to be more accurate; will have between their line-up one of the all times greatest bassist Louis ROY, and guitar player, Philippe WOOLGAR. That year, the band released their Prime Opera "Catharsis", with Bernard OUELLETTE on vocals, who will be replaced by GEYSENS in 1991 taking over the microphone on the bands' second production "A Moment Beyond Time". After all the constant ups and downs any band goes through once in a while or several times in life, they vertiginously reached to the pinnacle of their career with "Narcissus Goes to the Moon" in 1996. Perfection is strategically contemplated by this album from a peculiar point of view; it is transitional because the band explored complex pathways regarding the musical innovation by implementing few melodic didgeridoo preludes, sweet flute passages mostly all over the production and mind-blowing mellotron and organ arrangements to some of the compositions; it is exceptional because it kept the French-Canadian purity that sealed and distinguished their previous works; and it is challenging because it surpassed the limits of the "conceptual album" terminology. "Narcissus Goes to the Moon" is the ultimate consideration that tells symphonic progressive rock from what it's not, and I'm not just talking about what VISIBLE WIND achieved during the nineties, but up to present days where bands like THE FLOWER KINGS and SPOCK's BEARD could be more like the Canadian band, and hopefully, get to learn a thing or two that could come in quite handy to innovate the quality of their work instead of relying on worn-out formulas.

Throughout strong, exquisite vocal passages, Stephen GEYSENS describes us meticulously the landscaping of the entire recording, helped out time to time by his captivating skills on keyboards and by rhythmic guitar interludes; especially in pieces such as "Xenophobia" where he reaches such a John WETTON-like voice powerfulness that played along with the crunchy guitar strings, gives you gooseflesh immediately. The song is intrepidly taken away to the point where almost silent acoustic guitars break in "Intravenus" to help you catch your breath -momentarily- over the excitement with French lyrics (the only piece sung in French actually), and calm, compassed drum beats. The song leads on almost for over 11 minutes, expecting you to believe there's nothing more spectacular to come. But there is.

After the impact irremediably received in "Fuzzy Concept" with the dialogue between the schmaltzy flute and the devouring guitar, and the quietness experienced throughout portentous didgeridoo performing in "By the River"; the travel across "Narcissus Goes to the Moon" continues almost endlessly shocking. "Lunar Doubts" is the perfect excuse to consider the album as enigmatic at this point due the keyboards striking by GEYSENS himself and the impacting drumming by Luc HÉBERT; but believe me, the song to come, which is "Join my Soul"; will make you feel completely blown away and captivated with the connection between soft female back vocals provided by Dominique DOUCET and interposing guitars all along flute intromissions.

I could carry on describing the rest of the record to you, but that would kind of take the mystery away and you won't get to discover what's to come ever. I just recommend extreme carefulness when lending ears and mind to parts 10 to 12 from this album (particularly to the over 20 minutes suite "The Awakening", divided in VII revealing episodes), that far beyond being entirely enjoyable, they are mystical and surprising. Under the release of Musea Records you will find a bonus track, "Strange Days"; which is as great as the rest of this magnificent album by this severely underrated Quebecois band. Definitely a must to intrepid and restless proggers seeking out for new emotions and satisfactions. Five starts, no question about it.

Here is another great album by an obscure French-Canadian band. Not really heard of in the Prog world, Visible Wind are a group of talented musicians as can be heard on this album. The music is unlike any other I have heard, and has a great blend of light and dark and heavy and light moments. The track 'The Awakening' is a highlight with about 21 minutes of sheer listening pleasure.

I cannot link the sound with any other Prog band I listen to, but this one is up among my favorites. This album is highly recommended for someone that is looking for that different Progressive sound. The musicians: Stef Geysens (Keyboards, vocals), Luc Herbert (Drums), Louis Roy (Bass) and Denis Champoux (Guitar). All are very skilled and talented at their instruments. A previous album of theirs I can recommend is "Emergence" (1994). This is another album of excellent quality. It is a shame Amazon.com do not stock Visible Winds' catalogue. ...

Visible Wind - Narcissus Goes to the Moon (1996) Toward time that queria to carry out this review of this album concept that descubri tardiamente and that had captivated during all the month of August of the 2001. This frank group Canadian formed seems to be in 1986, I throw to traves of MUSEA in 1996 this its fourth one album titled "Narcissus Goes to the Moon" which was engraved in Quebec (Canada). The influences of Visible Wind not clear nothings, I diria that has influences basicamente of almost all the groups of the 70' s sinfonicos and psicodelicos, without being able to hide tambien certain tendencies Neo Progressive of the 80's. To stand out the buenisima produccion in which was collaborating Stephane Labeaume (SAGA) and to stand out tambien the original sound, energico, melodioso and energico along all listens it of the Narcissus. In a special way you exceed him the variety and magnifica ejecucion of the Keyboards, omnipresentes in all the album and the voice to times infrahumana of Stepehen Geysens, soul mater of the group. The components of Visible Wind are: Stephen Geysens to the Organo, Mellotron, Sintetizadores, Harmonium, Flute, vocal and composer of the letters. Claude Rainville to the guitar Luc Hebert to the bateria, percusion and choruses Louis Roy to the under, ask them taurus and choruses Contributions in this album: Jean-Philippe Goulet to the Violin in "The Awakening" Dominic Doucet voice in "Join My Soul" Jean-François Linteau that touches the Didjeridoo in "By The River". All the themes are intertwined in concept work form. 1 - TO succulent anachronic pastiche 2:19: Fear instrumental with a seccion ritmica marked by the platillos and the atmosferas created by the Hammond that conduct us progressively to a frenesi final teclistico... but alone is the preludio of what comes to continuacion. 2 - Fuzzy concept 6:50: this fear was engraved in July of 1992, sound of guitar and keyboards aflamencados at the beginning collide with the voice pinkfloydiana of Stephen Geysens... that aside takes charge of the Mellotron.. with the one that closes this theme 3 - By the river 2:08: Instrumental psicodelico full of effects of sound of sintetizador and of the sound of an instrument called Didgenidoo touched by a such Jean Francois Linteau 4 - Xenophobia 6:31: This fear is opened by the to sound of the Gong oriental that leads to a frenetico and of angry tone vocal and instrumental exercise with cuts of landscapes atmosfericos pilotados by the flute.. a short control of Hammond closes the theme. 5 - Introvenus 0:55: Pequenya instrumentacion acustica of so alone 0:55 of mellotron and guitar. 6 - Intravenus 10:547: Fear baladistico and folk sung three quarters you split of the in frances with guitars acusticas and landscapes melodicos acompanyados of Organo and Mellotron with an end that exceed him the keyboards and sung in ingles. 7 - Lunar doubts 7:56: Fear very psicodelico PinkFloydiano especially by the sound of the guitar that can come to remember to David Guilmor. 8 - Join my soul 2:44 Fear with air funkys sung by Dominique Douet. 9 - Race on to pseudo flying carpet 2:52: Fear very of tendencies Hard-rock with guitars and keyboards very energicos. 10 - Nothing left to hide 4:11: Fear with a proud entrance of mellotron that leads to nearby sounds of keyboard to THE&P. 11 - Ambulance 12 - The awakening (divided into 7 parts) I - Camel ride dream; ii - TO bubble burst; iii - Prisonnier du temps; iv - The preacher in the desert quicksand; v - The mad tryst; I saw - TO new reality and vii - I Am divine. It fear suite of 20:59 in which emergen and himself entrecruzan everything that has characterized to the remainder of 10 themes previously written; Aqui can sail among the psicodelia pinkfloydiana, the sinfonismo or neo progressive of the 70' s and of the 80' s and the simplicity melodica. 13 - Strange days 3:04 Bonus track of a version of The Doors. In the 2000, despues of four anyos of the Narcissus, the Visible Wind removed its fifth one album "Barb-a-Baal-a-Loo" carried out entirely by Stephen Geysens and autoproducido by the group, contains 5 songs sung in frances and two that mix the frances with parts in ingles. To prochain Juan Mellado