Five long years that fans of the 'Qantice' French band were waiting for a new record and it is done with 'The Anostoria' released at the end of April. And it was worth the wait because this last album is once again a total success; we already knew their universe well thanks to the first two opus (listen on Spotify The Cosmocinesy and The Phantonauts) and on this side we are not surprised that they are transporting us back to a futuristic world. On the musical side, they are unclassifiable and we could invent a new term, like power metal cinémato-symphonico-theatrical-classico ... (and so on) because, for the life of me, I do not see other formations that look like them. In 'The Anostaria', each composition has an originality that makes it unique and has a high instrumental and vocal richness while remaining very accessible. After the very cinematic introduction 'Gone Astray' led by classical instruments on which is added few notes of electric guitar, 'Once Upon A Sun' is an energetic and fast title which puts us directly in the bath with a first memorable chorus, then 'Without a Hero' continues in this all traced way with beautiful vocal harmonies and alternation between fast parts and other quieter. With 'Petrified Manor' and its slower tempo, the mix of guitar riffs and strings works wonders and 'Rivers Can not Fly' leaves again for a new and joyful title where 'Alexandra Laya' gives us 'a masterful accompaniment to the violin. A break is brought by 'Cosmic Sway' which is much softer and in which the flute brings an air side then 'Little Knight's Oath' mix metal, folk and fantasy film music and 'Fractal Universe' embarks us for a new melody where the Italian tenor 'Riccardo Cecci' forms a beautiful duet with 'David Åkesson'. With 'Krooner' and 'Mad Clowns', these are two catchy titles that make us travel in a swing atmosphere for the first and a mix between musical comedy and circus for the second and 'Timeline Tragedy', of over 9 minutes and built in several parts, is a bit of a summary of all these atmospheres that 'Qantice' mix for the best for this result so original and it is with the epic instrumental 'Farewell at the Edge of the World' that the album ends . In summary, this third album of the French 'Qantice' is a very good surprise 2019 and confirms that they are a group apart within the metal sphere and that they bring each time this unique style made of a patchwork of different genres, but the other side of the coin, is that they risk to be restricted at an informed public and that’s a shame... |
Line Up / MusiciansDavid Åkesson (Vocal, Choirs, Trumpet), Tony Beaufils (Guitar, Banjo, Bouzouki, Keybords), Alexandra Laya (Violin), Christine Lanusse (Bass), Aurélien Joucla (Drums) + invités : Riccardo Cecchi (Vocal), Dimitri Halby (Flute), John Lang (Bagpipe), Justine Descamps (Hautbois), Arnaud Condé (Flute, Basson), Kevin Codfert (Piano), Tomaz Boucherifi-Kadiou (Bombarde) |