Uit: Nieuwe Vlaamse Muziekrevue.
HARDSCORE: MONKEY TRIAL, book 6 of hardscores
"Hardscore is a Belgian band that features female voice, piano, marimba, synthesizer, winds, bass a,d drums and stylistically combines chamber rock, Canterburry prog and RIO fusion which echoes the late, great Henry Crow at times. Musically full of complete arragements and crisp melodic themes that all blend into a fantastical sound"


... en een nog fantastischer verhaal over de aap Buba die probeert echt mens te worden, in een casino de aap Horace ontmoet die ham het wedervaren verhaalt van allerhande lotgenoten die hetzelfde nastreefden, maar ondanks hun onvermoede kwaliteiten toch geen menswaardig bestaan konden opbouwen.
Tekst en muziek van Frank Nuyts zijn binnen afzienbare tijd gegeerde onderwerpen voor diepgaand multidisciplinair onderzoek, zoveel is zeker.
Voor het zover is laten we onze nederige ziel zonder tegenstribbelen meedrijven op de onstuitbare vloedgolf van woord en klank, onnavolgbaar op vlak van kleur, melos en ritme, laten stoïcijns de "13 secs of bonobo sex" aan ons voorbijgaan en zijn verrukt over zoveel accuratesse der musici, die doorgaans van minder door het dak zouden gaan.
Een absolute aanrader voor alle liefhebbers van geavanceerde genrefusie van het nerveuze type.
Lucien Posman


La música de Bélgica, por razones que exceden el alcance de este comentario, no es masivamente conocida en el mundo. Es así que recién en estos últimos años he tenido la fortuna de poder acceder a material vinculado al rock progresivo, música experimental y avant-jazz de este injustamente relegado país europeo. Lo primero que descubrí fue la gran cantidad de artistas excepcionales que me había estado perdiendo durante todo este tiempo. En segunda instancia, y luego de transcurridas muchas audiciones, me pareció percibir en muchos de estos artistas (a pesar de ser distintos entre si) una cierta característica en común, algo muy sutil e inasible, pero presente. Tal vez una posible idiosincrasia musical belga (al menos una de ellas). A lo que me refiero es que me parece detectar en la obra de varios de estos músicos una combinación peculiar, casi contradictoria... música compleja, seria e intensa, pero que pareciera encubrir un sutil sentido del humor muy distintivo, casi jocoso. Tal vez esté equivocado y me califiquen de poco objetivo, y probablemente lo sea, pero dado que todo comentario es en gran medida subjetivo puedo correr el riesgo de equivocarme. Bien, es esta contradictoria combinación de música seria y compleja con leves toques de humor finamente incorporados, lo que caracteriza a "Surf, Wind and Desire". Cuando me apresté a escucharlo por primera vez, no tenía cifradas muchas expectativas en el disco. Hay que admitir que ni el nombre ni la tapa, pletórica de peces, eran indicios especialmente auspiciosos. Lo único que mantenía viva mi esperanza era que la persona que me lo había recomendado es un excelente músico cuyo gusto merece el mayor de mis respeto. Y una vez más se confirmó que no hay que juzgar a un libro por su tapa. "Surf, Wind and Desire" se reveló como un disco ESPECTACULAR, sin fisuras.

Mezclando rock progresivo del más elaborado y algo de Zappa con Jazz, la música creada por HARDSCORE es excepcional. Sumamente personal y difícil de encasillar, sólo para dar una idea tangencial de su sonido, imagínense sobre un sustrato jazzero Canterburiano mezclar una pizca del primer Rennaisance con "In Extremis" de Thinking Plague, agregar el saxo de VdGG y procesar la preparación a través del espíritu lúdico de Frank Zappa. El resultado es una nueva música con continuos cambios de tiempo y contrastes. El más destacado de estos contrastes, probablemente sea el que se genera entre la cantante (que a veces recuerda al lirismo de Jane Relf y otras al vanguardismo de Deborah Perry) y el desarrollo de los instrumentos, que se entrelazan en complejas estructuras y motivos, en el mejor estilo del Jazz/Rock progresivo más elaborado... su sonido es sofisticado y caliente a la vez, enérgico sin aturdir, TODOS LOS MÚSICOS SON DE UNA PRESICIÓN Y CALIDAD SUPERLATIVA. Posteriormente, me enteré que HARDSCORE son músicos clásicos que, para divertirse, formaron una grupo en su tiempo libre... paradójicamente ellos crearon una de las mejores bandas de rock progresivo elaborado que he escuchado últimamente.

CONCLUSION: Vuelvo a repetirlo, uno de los mejores discos recientes de moderno rock progresivo complejo (en el sentido amplio del concepto "rock progresivo"), creado e interpretado por músicos excepcionales. Sin parecerse particularmente a ninguno de ellos, si usted era un amante de la complejidad e intensidad de Zappa, la escena de Canterbury, VdGG y Gentle Giant y está en busca de nueva música, esa nueva música está en "Surf, Wind and Desire". EXCELENTE Y OBLIGATORIO!

Paul Puleston 2004 puleston@ing.unlp.edu.ar



26/04/2004 15.34.56 Hardscore Interview (Frank Nuyts) We have talked with Frank Nuyts the leader of the Belgian band Hardscore....
1) I would like to start from the beginning, in order to give our readers a good framework. Could you please tell us something about yourself, your early interests and how did you get involved in music? When and why did you choose tuned percussion as one of your main instruments?

I started to study professionally music as a kind of substitute for another of my early passions, namely drawing comics. Almost accidentally I made the unexpected choice to quit drawing (feeling I would never be good enough to attain the standards I demanded from other people). Playing piano was a must in my home, and although I hated it, I must say it now feels for me the instrument which comes closest to my heart, even after having been for many years a teacher of percussion for young professionals. Like everything in my musical career it turned out that without really knowing or willing it I was pretty good in playing the marimba and vibraphone. I started to compose for those instruments, mainly because only playing music of other people bored me.. Then I played those self-composed pieces and people saw me as a kind of wizard on those instruments. The only results were that I got hooked on composing which became my main activity until now.

2) When listening to Hardscore music, a Frank Zappa flavour seems to be present here and there. Was he an influence to you? Which were your main musical influences? Were 70's progressive bands one of them?

The funny thing is that we never listened to the radio at home. My father had rather early on decided that nobody after the second world war could sing.. Why bother to listen to the radio then? But once I started to study music in the conservatory of Ghent I felt it my duty to inform me what had happened in the 20th century. And for three years I listened like an obsessed maniac to everything which was produced in the realm of contemporary classics. I think I listened to a couple of thousand LP's, which in some way or another, I managed to stock in my brain. Most of those works are still sounding there. And yes one day I discovered Zappa which I immediately liked very much. I knew then already Varèse very well. I had already discovered really everything of Strawinsky, and the odd combination of blues, Americana, Varèse and Strawinsky, larded with a ravaging kind of humour in Zappa's own music started in me the wish to do one day something equally unheard of, although I knew the mix would be completely different. I don't play the guitar, so rock and roll would never have that deep influence on my music, but for being a drummer too, I discovered one day the art of drumming of Stewart Copeland, and this kind of white reggae opened the door to areas of my imagination which would never have been opened without this encounter.

3) How and why did you decide to create Hardscore? Did you have any previous experience playing in a progressive/chamber rock group?

I always formed and disbanded groups. Everytime I wrote a work for some weird combination I started to look for people to play those things begged other composers to write for this combination and sought possibilities to perform them. Some of these groups existed for some time, others split after one concert, but my wish to seek non standard instrumental combinations never faded. It's still so: I just wrote a kind of dance theatre opera piece, for eleven singers dancers, a clarinet, a bass clarinet, marimba, piano and percussion. We will tour with this piece for some time. But there again, it was my sound imagination which drove me to choose this combination, which I never heard before... So once we'll stop this production, this kind of band will disappear too...

4) I know that is a difficult and, usually, a barren task, but could you please try to describe your music to our readers? Could you tell us something about each one of your records and how your music evolved from "Tubes for Sections" to "Surf, wind and desire"?

Like I already said, my main influences come from non commercial music. But I felt that no classical composer can ignore the fact that commercial and somewhat less commercial music is the equivalent of folk music of the past. One cannot ignore the fact that what one hears on the radio is the only kind of music what billions of people think as "music". Stockhausen and Boulez and Xenakis, or Dusapin or Adams or Ferneyhough now might be the uncrowned kings of the classical contemporary scene, but who listens to them?. Even Berg or Schoenberg and Strawinsky are famous in only small circles. Most high art is, but I felt that there must be at least a serious try to link the overall music of this world to the thinking behind these less accessible soundworlds. So in Hardscore I refused to have a "taste". When I found that something "worked" in the specifically context of a Hardscore song, I went for it, well knowing that most people would be at a loss. But that's now just the way my mind's working. I feel there is fair amount of Zeitgeist to be seen and to be heard between apparently very different art forms which took form for example in the same period of history, but were until now considered as antipodes. Between Minimal music and Tangerine dream, most people can hear the connection. But the rise of sampling in commercial music is equally to be seen in most hardcore postmodern classical orchestral works, in the form of free and unlimited use of things past. As a classical composer I tried to impose a kind of "single" (meaning the record) feel in my pieces. To tell my story in three minutes and a half in stead of the regular half hour of a symphonic work was a real challenge. Now I feel that most young starting composers do this kind of thing much more easily than me and even better, so the only way I could compete is to show them how to compose huge conceptional pieces, without dumping the "single" feel. In the coming record "Monkey trial" I reached something I think which shall be for me rather difficult to surpass. Monkey trail is a concept of 70 minutes, longer than a Mahler symphony, but without any of the usual tricks of the classical trade. No development whatever, only constant zapping and focussing into what passed my inner ear. It's demanding music, but why should music always have to be something to be consumed almost unintentional? I demand that listening is a powerful act of will, which is not only guided by emotional needs. Using one's brain while listening to sound is too often condemned, and by being done so, it became for me something very alluring to try...

5) Do you cross-collaborate with any other bands or musicians?

Although Belgium is one of the smallest countries of the world, we are living widely apart. There's no real jamming together. I never sought it too, for I compose almost every single note of the scores for Hardcore. I need trained classical musicians willing to venture into for them sometimes not so very tempting areas. But they know already that I know very well what I want and that they can learn quite a lot when playing in my bands. Discipline, very hard work and fun are the key words in my work with musicians. Most people might think that's an impossible combination. I can assure you it isn't...

6) Do you listen to any related RIO/Chamber Rock band from abroad (for example, Thinking Plague, Birdsongs of Mesozoic or 5uu's)?

Of Mezozoic I have records, but I don't listen too much to music. I don't have time, for I have to write it, which condemns me to silence in my working place!

7) Do you think that there is a worldwide renaissance of art rock since the last ten years? If so, why do you think it is happening? Which role is playing the Media and the mega-record companies on this respect?

I don't count on any support. I record everything with my own money. I try to get it on a label which might be e good house for it. But I know there's not a real market for my output. Your reaction and appreciation is really something which did us well. But I fear you are among the great exceptions on this globe. Hurrah to you all!

8) Classical-trained musicians that play progressive chamber rock performing a Calypso! This is something to be heard live... are you planning to release a live CD? What can you tell us about your next release?

Yes, at the end of the month Monkey trial will be completely finished. I think there's something on it which is rather unique. This time all the songs are intersected with soundscapes, which tell the story of Buba, a monkey which already appeared in Book two and Book four. Now he's the main focus of the record. Although it's a kind of metaphor for something very different. Buba tries to become more human, and less apish. He wants to cross the border between humans and simians. Of course he encounters mainly rejection. And he gets proof of the impossibility of his self chosen mission by another ape, called Horace (see the link with "hors race", French for "out of his race") which in his career as an ape in the presidential household encountered many apes who almost were considered more human. "Ham" the first astrochimp. "Washoe" the first ape who got taught American Sign language and so on. But like I already said it can all also be read as the efforts of an unknown Belgian composer to impose to the world the choice he made to make no difference between whatever sound produced by whoever thought it necessary to do so. And sitting on the barrier between this noman's lands, is sometimes rather lonely, but who wants to be less so in countries which one feels as not his own? NUCLEUS

Hardscore "Tubes for Sections" (Eigenproduktion 1997) "Monkey Trial" (Margen Records 2004 ) "Tubes for Sections" ist die erste veröffentlichte Arbeit der belgischen Jazzrocker Hardscore gewesen. Zusammen gerade 20 Minuten lang, bringen die 6 Stücke heftigen und äußerst inspirierten Jazzrock hervor. Das damals 12-köpfige Ensemble um Frank Nuyts (mar, synth, prog) spielt sehr perkussionslastigen, Marimba-geführten Jazzrock, der Calypso und andere Stile interpretiert, die stets klingen, als sei Frank Zappa in irgendeiner Form an deren Ursprung beteiligt gewesen. Die CD ist heute nur noch über die Webseite der Band zu beziehen, und auf alle Fälle sehr zu empfehlen, ebenso wie die beiden folgenden CDs "Methane" und "Surf, Wind & Desire". Gerade jüngst veröffentlichten Hardscore ein neues Werk. "Monkey Trial" ist ein aufwändiges Konzeptalbum um die sehr menschlichen Erlebnisse des Affen Buba, der erst die Welt retten, dann alle Hominiden ausrotten will und schließlich mit seinen Vorstellungen bricht. Dort setzt die Geschichte an. Die Story ist in 2 Parts geteilt, die wiederum in einzelne Tracks gegliedert sind. Der Story folgend, gibt es zwischen den Songteilen kurze gesprochene Passagen, die hörspielartig eingebaut wurden und die Geschichte ansprechend erläutern. Die Story ist im Booklet detailliert abgedruckt und damit sehr gut nachvollziehbar, darum will ich hier nicht weiter darauf eingehen. Hardscore sind heute Frank Nuyts (mar, backing voc, prog, lyrics), Iris De Blaere (p), Jan Duthoy (synth), Frank Debruyne (saxes, backing voc), Maï Nuyts (lead voc), Maarten Standaert (b) und Jan de Smet (dr). Daneben sind mit Frederik Segers (g), Stefanie Beyens (Soundscapes) und Dirk Van Vaerenbergh (voc) weitere Musiker an der Einspielung von "Monkey Trial" beteiligt gewesen. Die anspruchsvolle Musik wirkt zuerst unnahbarer und schwieriger als die Vorgängerwerke der Band. Zudem erscheint die Story erst seltsam. Aber nach ein paar Durchläufen bekomme ich Zugang zu Geschichte und Musik, und im Handumdrehen haben mich die ungewöhnlichen und reichlich eigenwilligen und mit keiner sonstigen Band vergleichbaren Stücke voll eingefangen. Die Stimme von Maï ist wie gehabt grandios. Das virtuose Marimba-Spiel von Frank Nuyts, oftmals melodieführend unisono mit dem Saxophon, entwirft verflixt komplexe, sehr vitale Melodien. Überhaupt geht es melodisch zumeist recht jazzlastig zu, wobei die aktive Rhythmuscrew voll aus dem Rock kommt. Maïs Stimme steht über der Musik, eine gewisse Ähnlichkeit zu Deborah Perry von Thinking Plague ist in der Ungewöhnlichkeit der Melodieführung zu erkennen, wenn der stimmlich technische Ansatz auch völlig anders ist. Die Gastgitarre von Frederik Segers allerdings ist völlig unnütz und bringt zum Hardscore'schen Ausdruck nichts Gleichwertiges ein, das ging daneben. Lange hat es gedauert, bis Hardscore das Album einspielen konnten. Ohne Label und weitere finanzielle Unterstützung gab es keine Möglichkeit. Letztlich hat Frank Nuyts fast alle Risiken selbst getragen. Vielleicht hat das dazu beigetragen, dass das spanische Label Margen Records Band und CD aufgenommen hat. "Monkey Trial" wird auf Grund seiner anspruchsvollen Natur wohl eher im Jazz erfolgreich sein. Marimba-Freaks und Prog-Jazzer sollten die CD unbedingt testen. www.hardscore.be margenmusic.com Volkmar Mantei (for Ragazzi music)

Prolusion. "Monkey Trial" marks my first acquaintance with the creation of Belgium's HARDSCORE, though this is the third album by them. The last name of (producer) Frederik Segers has immediately reminded me of Guy Segers of Univers Zero and Present fame, but I am not sure if there is any real connection between these people. Synopsis. In fact, there are three additional tracks located at the very end of the CD. These are so-called remixes, shortened versions of tracks 20, 10, & 4 respectively. Each part of Soundscape has a very verbose sub-title, compiled from more than a dozen words, so I didn't put them in the track listing above, especially since most of those pieces are very short in duration. Almost all of them: tracks 2, 5 and all the further oddly numbered ones aren't soundscapes as such, as there is neither music nor even "sound design", and are only speech, voices, and natural sounds. (On Soundscape-9, I hear the toast "Your health!" spoken in accented Russian.) The only exception is Soundscape-2 (3), which has nothing to do with soundscapes as well. Like another instrumental piece Intro (1), it's of the same compositional and stylistic concept as the songs. Starting with the fourth track, these are located on all of the evenly numbered ones and are with lyrics (in English) that play an important role in this effort. In other words, "Monkey Trial" is a full-fledged concept album. The CD features about 55 minutes of real music, which is just gorgeous. One may discard my rapture for this album due to the inevitable inference of my having written so many highly positive reviews for this update. But that would be neglecting the considerable values of one of the very best releases of the year. A sextet of marimba, piano, saxophone, bass, drums, and vocals with an abundance of original and captivating ideas, Hardscore performs a fresh sounding, both intricate and beautiful music, which may at times evoke with the best of Happy The Man, Jesus Christ Superstar and Etron Fou Leloublan. The band presents a truly original, rather light and lively, RIO, which, thanks to the massive use of vocals (lead female and a mixed choir), and also the way they are delivered, is actually nothing else but an RIO Opera. This is an album of invigoratively imaginative themes inflected with well-developed subtlety and shade, combined with the harmonically sophisticated parts where there are more symphonic textures and are only occasional jazzy tendencies. Each of the songs is made up of a few different vocally instrumental parts and independent instrumental interludes, all going organically with a solid range of complementary musical ideas full of certitude and finesse. Sometimes quirky, but always intelligent and never losing sight of a melodic sensibility, the compositions are laced with original chord progressions and exciting dynamics. While the marimba player Frank Nuyts is credited as the author of the entire material, it's clear that each of the band members participated in the arrangement, offering equal quantities of fire and coloration to the overall effort. The band has created something magnificent, a thing of impressive compositional perfection and considerable stylistic awareness. Conclusion. Well, Belgium is still at the helm of the RIO movement, especially regarding the most structured forms of the genre, and I am really delighted with the fact of how this country is rich in such talent. There is so much to like on Hardscore's "Monkey Trial", and the album takes just a couple of listens to begin absorbing all the fine detail. This is one of the most unique RIO-related works in my memory, though I am certain that the album will rejoice Art-Rock lovers, too, at least most of them. It will certainly stay on as one of my favorite Top-20 albums of the year. VM: August 29, 2004 From Uzbekistan, Progressive rock pages, detailed reviews. www.hardscore.be: monkey trial (4) (2004, cd, spain, margen records)


It has been four long years since Hardscore's latest album, but they're back. And how. I saw Hardscore perform "Monkey Trial" about three years ago and I was quite impressed. I remember it being a co-operation between Hardscore and a theatre company, pieces of theatre and music. Wasn't too happy with the theatre bit, but the music was great. The album "Monkey Trial" reflects on the relationship between mankind and his ancester, the ape. It takes the Tennessee Monkey Trial even one step further. Meet Buba,Washoe and Binti and let them tell you their story. Composer Frank Nuyts and Hardscore did an excellent job. A perfect mixture between text and composition. This is essential listening!! united-mutations.com


07/06/2004 Artist: HARDSCORE Album: Monkey trial Year: 2004 Bene, bene, finalmente abbiamo fra le mani la nuova fatica degli Hardscore, gruppo belga capitanato da Frank Nuyts (compositore e percussionista) che si propone a noi per la terza volta ("Methane" e "Surf, wind & desire" i primi due dischi, senza contare l'EP "Tube fo sections" ed alcuni brani inediti in circolazione sulla rete: cercate nel nostro sito le recensioni relative); il disco, intitolato "Monkey trial", pubblicato dall'etichetta spagnola Margen record (strana scelta...), è un concept dalla durata di poco superiore ai 71 minuti, costituito da 25 brani di cui quasi la metà sono in realtà dei bridges intitolati soundscapes, con appunto la funzione di connettere i diversi episodi musicali costituenti la struttura portante del lavoro. I nostri eroi non modificano sostanzialmente la loro proposta: musica zappiana (quella più colta) corredata da voce femminile, riletta ed eseguita da grandi strumentisti di matrice jazz con perizia e maestria veramente encomiabili, il tutto condito con molta ironia che, a differenza di quanto accadeva in alcune fatiche del maestro, non intacca la qualità della musica, sempre frizzante, sofisticata ed al tempo stesso immediatamente godibile. Mi dispiace dover segnalare dei limiti recensendo un disco comunque assai valido come questo, un lavoro in grado di allietare per più di un ora le nostre orecchie, senza contemporaneamente farci gonfiare per lo sforzo altre nobili parti anatomiche non nominabili; eppure, ...eppure qualche peccatuccio deve essere rilevato: rispetto al passato gli Hardscore ci presentano una composizione con qualche calo di densità sparso qua e là, probabilmente in parte vincolati dalla struttura della storia ed in parte dalla conseguente durata complessiva dell'opera; in sostanza compaiono delle semplificazioni nella partitura unite a qualche diluizione sicuramente evitabile (Perlomeno questo è il mio parere, anche considera. Marcello Marinone (for the Agartha team)


One can´t help but think Frank Zappa`s only real artistic failure, Billy the Mountain, was probably meant to be something like this opera disc. Frank Nuyts runs the show in a comical transmorphing of human arrogance though a chimp`s eyes, a composer who swings a mean marimba just above his satriric pen. Fluid sax player Frank DeBruyne has his back, as well as his frontal lobes, while Iris De Blaere plies gloriously serial keys, keeping the propulsive, fragmentary score cooking. The mononamed Mai handles vovcals, which are deceptively sweet for such sardonic lyrics -sometimes amidst squawking humano-chickens and other barnyard denizens loosed in the score`s staves and measures. All the tawdry, sordidness is here, nothing is held back: sex, violence, betrayal, genociadal plans, and... bananas! Highly entertaining, The CD¡s 71 minutes are like attending and elegantly bizarre stage presentation in way-pff-Broadway, amidst eccentrics, loons, and (shudder!) artists. Nonetheless, the music's virtues amidst the dementia are solid and often sublime while the libretto may provoke a thought or three amidst chuckles and guffaws. - Marc S. Tucker, Progression Magazine#47)


Humez, c`est du belge. Et comme César aurait pu le dire, de tous les peuples de la Gaule, dans le domaine du prog d'avant-garde, les Belges sont parmi les plus braves. C`est bien connu. Le Belge qui nous occupe ici, c`est Frank Nuyts qui nous revient avec son groupe HARDSCORE, après quatre annèes d'absence. Frank Nuyts, percussioniste et compositeur de formation classique s'engagea dans la musique d`avant-garde, comme certains s`engagent dans la Legion Etrangére, par decpetion: ses compositions classiques (symphonies, concerti, sonates) trop inspirées de courants novateurs, ne recevaint pas l'attention attendue et plutôt que de changer sa musique., il changea d'auditoire. Il fonda Hardscore en 1989 (tous musiques de formation classique) pour jouer sa musique, car comme Daniel Denis d'Univers Zero, il compose les paritions pour chaque instrument. Ses sources d'inspiration: le jazz, la musique classique contemporaine, Stravinsky et Frank Zappa tout spécialement... Ah le bel Univers que voilà. Dans Prog-Resisté nº 22 (fabuleux dernier numéro du precedent millénaire), votre serviteur (moi) vous recommandait dejá le premier opus de Hardscore, Methane, album aventureux, Frankement inspiré de Zappa, à la fois complexe et atmospherique, qui définissait le style Hardscore: un rock en opposition, aux teintes jazzy assez accentuées qui évoque à coté de Zappa, des groupes tes que Thinking Plague, U Totem, Henry Cow, Hatfield of the North ou Happy the Man. La riche texture de timbres des instruments (marimba, claviers, saxophone, basse, batterie) est complétée par une voix feminine haut-perchée qui distille des mélodies jazzy qui contrebalancent la complexité de harmonies et simplifient le propos. Composé lorsque le second album, Surf, Wind and Desire voyait le jour, MonkeyTrial dû attebdre 4 années avant de paraître, et ce pour cause de manque de budget. Départ donc du label belge Carbon 7 por l'espagnol margen Records. Par contre la musique reste bien du Hardscore pur jus, mêmes influences, mêmes recherches harmoniques complexes que survole la voix cristalline de Maï, la vocaliste. Les pièces savamment construites d'une durée moyenne de 4 minutes sont entrecoupées de courts "soundscapes" qui aèrent l'atmosphere et servent de liens entre les compositions. Cette musique faite de contrastes sert bien le concept de l'album que ilustre une historie d'hommes et de singes, de similitudes simiesques et de différences diverses. Cet album paraît plus mature, plus unifié que les precedents, plus fácile d'accès probablement. Par contre le chant me semble trop uniforme, trop prédictible. Sa présence moiuns prononcèe mettrait mieux en évidence la richesse des harmonies. Il ne faut jamais abuser des bonnes choses disait mon papa... et il avait toujours raison, mon papa. -(Dominique Genin, Prog- Resisté #39)

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