For those who follow myprogmusic, I presented to you at the end of 2022 the latest album 'BIG' from the 'CEN-ProjekT' project of the German 'Chris Engels' and, as I told you, he also released solo albums under the name 'Chris Angels'. The difference between the two, according to Chris, is that 'CEN-ProjekT' is Neo-Prog-Rock oriented and 'Chris Angels' more Prog-Rock. This new album 'Gods' is part of his solo project and offers us eight compositions that we must take the time to appropriate, because 'Gods' is certainly less immediate than the albums of 'CEN-ProjektT'. In this opus, he takes up texts by various American poets including 'Nathaniel Hawthorne' or 'Ralph Waldo Emerson' or even 'Robert Frost'.
'The Ocean' welcomes us with imaginative progressive which, after an organ introduction with Hammond tones, delivers alternations between calm parts and other more energetic ones imagining well the contrasts of the ocean between the fury of the surface and the serenity of the shallows. 'Brahma' continues in this subtle mix of energy and softness between fast verses and a very beautiful more sedate chorus, the central break starting on the piano bringing a contemporary aspect to this beautiful piece. With 'The Faith', the atmosphere is softer and Chris' singing much more peaceful, and I hear some influences bringing us back to the 70s and to certain sounds of 'Genesis'. We arrive at 'The Impulse' which continues to offer us inventive progressive with a long instrumental introduction bringing the sung part with a catchy melody, then, we navigate in a sound labyrinth with multiple twists to end on the final section sung in light crescendo. The second part of the album offers us 'Winged Sphynx' which, after a powerful and rapid introduction, takes us on a magnificent symphonic fresco alternating calm passages and other much more energetic ones, then, with 'The Dead Host's Welcome ', I feel like I'm stepping back into the psychedelic period of the 60s with a fusion of influences from the 'Beatles' and the 'Pink Floyds'. Follows 'Fireflies' which shows a more muscular face, the saturated electric guitar being more present and the progressive aspect more withdrawn. And to finish, the title song first takes us into a very original cocktail of electronic keyboards and classical influences on a suite of 'Jean-Sebastien Bach', then, continues in refined progressive that can still recall 'Genesis' by alternating sung parts unfolding a harmonious melody and sought-after instrumental sections.
In summary, 'Chris Engels' offers us an album of great quality which requires several listenings to properly tame it and which, therefore, should appeal to an audience who likes a varied mix of different styles influenced by different eras of progressive... | |
