Another legendary progressive rock band with a new album is the French rockers Clearlight. Their latest release, "The Impressionist Symphony" strays far from the rock their earlier albums as the band gives a classical piece for the ages. It is Clearlight's first album of new material in over three decades and features members of the bands GONG, The Muffins, Spirits Burning and more. The music just takes hold of you and brings you on a journey through the influencial sounds of classical composers Ravel, Satie and Debussy. The album begins with a progressive feel during the opening of "Renoir En Couleur" featuring the outstanding guitar work of Steve Hillage. The wonderfully exciting piano of Cyrille Verdeaux on "Degras de la Marine" will give you shivers, before takes off with the spacey synthesizer sounds of "Van Gogh 3rd Ear." The album closes with the elegant, gentle feel of "Monet Time (duet)."

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In the world of French prog 70s, Clearlight is categorized mythical groups. Its initiator Cyrille Verdeaux , classical pianist by training, his group is composed of many casual companions and realized as the Clearlight some great albums in the category of symphonic progressive. If "Clearlight symphony"(1975) remains his masterpiece, do not overlook"Forever blowing bubbles" (1975), "Tales of Crazy Monkey" (1976) or "Visions" (1978) last classic album Clearlight which will dim some time before being reborn in the early 90s. suspension Clearlight activities during the 80s is quite natural from a historical point of view, since the 80s swept this progressive stage a pompous nothing had finally disgust the new generation of kids quickly inclined to turn to the punk and new wave, forgetting those groups which were called at the time of dinosaurs. During this period of imprisonment, Cyrille Verdeaux led a solo career away from the lights of the news and stardom, fingering a number of albums (including some referenced in the series known as chakras.) is the sees the concerns of Mr. Verdeaux evolved progressive music (I use only the term progressive rock as it is here instead of music that could be described as classic, treated with a progressive orientation) towards considerations and more psychedelic new age. Cyrille Verdeaux reactive Clearlight in the 90s and eventually settled in Brazil. This is a given at the Embassy of France in Brasilia Cyril Verdeaux receives congratulations from the ambassador, who describes his music concert Impressionist. This idea made ​​its way into the mind of the leader of Clearlight, which began composing new pieces for a future album. It took almost ten years for the initial idea that gave birth to "Impressionist symphony" , developed with the help of many prestigious musician. Indeed, Cyril Verdeaux convened for this former comrades forty years earlier had participated in the recording of the first album. These musicians Gong ( Steve Hillage , Didier Malherbe and Tim Blake ) are also accompanied by Paul Sears (combo of legendary avant-prog The Muffins), Don Falcone (Spirits Burning), Linda cushma(of Oxygene8) Chris Kovax ( of Psyquest) and Craig Fry , a violinist from the classic. The result is no surprise, because of Clearlight Clearlight, that is to say an ambitious symphonic music, extolled by sounding piano parts and twirling violins .Very long pieces (seven to eleven minutes) allow everyone to express themselves and develop complex solos and other convoluted instrumentations. Nothing that can be done in the Babylonian has been forgotten. Importantly, the album is based on the concept of Impressionist painting, which helps give songs (all instrumentals) securities giving shamelessly in the pun worthy Almanac Vermot : "Renoir color" , "Time is Monet" , "Pissarro king" , "Degas marine" , "Van Gogh 3rd ear" , "Gauguin in the other" , "Lautrec too loose" and "Monet time duet" . That's why the titles are not included in the back of the CD but in the middle of the booklet inside  : . types were too ashamed to expose the first glance came to the overall assessment of the work, it is a matter taste. Technically perfect, an emphatic nothing in the arrangements, overloaded or cosmic psychedelic effects in Wagnerian composition and fearless in ignorance of the limits. Some will see the central music hall transatlantic cruise liner to the use of Dutch pensioners, others cry genius and magnificence. Others, instead of an impressionist fresco, will see the rather pompous art. Others, finally, find pleasure in drowning in Verdeaux and music. All tastes are in nature, we confine us about indulgence with this work full of good faith has its charm despite some blistering.

François Becquart