2023 (Black Pearl Productions)
Alan Charles is an experienced multi-instrumentalist from Montreal, Canada. In 1990, he founded the neo-prog formation Existence, releasing the concept album “Fragile Whisperings Of Innocence” in 1994. In 2017, the double album “Origins” was released, featuring a re-recorded first album and a brand-new second part of the concept titled “Silent Screams In Violence.” In 2007, he also released an album with the group Eletria, simply named “Eletria.” What characterizes all of this work, especially his solo album discussed here, is the tasteful way in which the material is composed. Charles takes his time to build the songs effectively. Are you ready to join him?
We hear a musician who has put his brain into overdrive to achieve the most beautiful result possible. He managed to access the sound banks of the BBC Symphony Orchestra, recording instrument by instrument using VST (Virtual Studio Technology) with a sublime end result. The heavy brass of horns and trombones is particularly magnificent, giving the music a nostalgic vibe reminiscent of Pink Floyd’s “Atom Heart Mother.” Another album it can be compared to is “Doomsday Afternoon” by Phideaux. However, Alan Charles deserves to be judged on his own merits, starting with the daring album cover. If you want to know what the concept is about, the pornographic image on the front leaves nothing to the imagination.
The album consists of seven songs, or rather, a short intro with majestic piano chords and six substantial tracks. The first of these six, “Memories Of An Illusion,” is a delightful epic that starts with a 12-string acoustic guitar and Alan Charles’ warm, dreamy voice after the intro. After a pleasant change of tempo, singer Kim Gosselin brings more fire to the piece. While she has a beautiful voice, the song could benefit from a more powerful singing style, especially as the music grows in intensity. From then on, the entire album is magical.
“An Instant Beautiful Dream” opens bombastically with slurping synthesizers, and just when you expect a raging gothic sound, the song transitions into something small, something lovely. From there, Charles builds it up well, culminating in a guitar solo that is truly captivating. Meanwhile, the orchestrations do their best to be grand, which they succeed in doing. The orchestral sounds also feature prominently in the following “Silence – The Theme, Part V.” The acoustic guitar propels this instrumental track into infinity until a rhythmic variation of the orchestral sounds brings an end to that infectious Pink Floyd vibe.
The longest track on the album unfolds, and here too, it’s a joy. “The Palace Of Blissful Tears” lasts over eleven minutes, so settle in for a good listen. Charles once again showcases his compositional prowess. The vocal lines and orchestral arrangements are cooler than ever, and the concept takes a dramatic turn, clearly heard in this track.
In “Love Lost In Abyss,” singer Gosselin makes her mark, delivering her lines convincingly. After an instrumental passage, Charles vocally joins in, giving the song a melancholic ending. The closing track, “Escape To Oblivion,” makes it clear through instrumental means that the love triangle addressed throughout the album has come to an end.
Lust and passion have never been so explicitly brought to a prog album, and that deserves respect. The level at which Charles makes music leaves little room for other choices.
© Dick van der Heijde 2024