French composer and guitarist Gabriel Keller returns with his second album, Hope Despite Everything, showing his poetic and often powerful progressive rock to great effect. As with his 2022 debut album, Clair Obscur, it is a diverse musical statement that explores a range of emotions where joy, sadness, nostalgia and melancholy intermingle. Once again there is light and shade in the compositions, with dark, metal-influenced prog contrasting with gentler, acoustic-led, dream-like sections. It is this contrast within Gabriel’s music that is so fascinating and quite unique, and he is well supported by some truly beautiful female-led vocals and even sweeping cello at times.
The result is progressive rock that can mix elements of Pink Floyd and Porcupine Tree with the likes of Opeth, and yet include the pop influences of The Beatles, French pop, jazz and classical music in a melting pot of creativity.
Gabriel majors on electric and acoustic guitar, bass and percussion, but is often joined by guitarist Charlie Henry. Lucie Lacour delivers some exquisite cello, while Lucas Biguet-Mermet and Simon Rebuffat provide the drums. Emi B’s vocals are so expressive, but Charlotte Gagnor, Manon Coursol and Angelina Pelluet add their talented vocals as well, across the whole album.
In many ways the almost schizophrenic nature of the music is similar to Clair Obscur, with an intensity and power of the first half of the album, followed by the lightness of touch on later tracks. However, for me it seems much more integrated this time around. Even on the war-themed ‘Letters’ suite of songs, the light and shade intertwine inventively and successfully, creating a complex mix of emotions that swing from the depths of fear, despair and loss to the promise of love and hope, rising above the conflict.
The first 5 tracks are conceptually connected and evoke the absurdity of war through a series of letters between a mother and her son at the front. They are richly evocative lyrically and are framed within a refreshing diversity of musical styles, complexity and changing intensity. Most are based on compositions from a decade earlier but have been worked and polished as, Gabriel says, his musical maturity has developed over the years.
Why is the atmospheric introduction to this suite of songs and asks the simple questions about war: “Why are we doing this? Why so many deaths?” The eerie soundscape of heavy gunfire and sound effects is slowly joined by haunting, questioning voices in the melee, and while there is a sudden change to a more delicate acoustic guitar melody, majestic choral voices take over the sad questioning, with the distress building in intensity to create a sombre, off kilter feel.
The Letter (Part 1) begins with a menacing burst of prog metal guitar chords and power drumming which overlay a strummed acoustic guitar pattern. Yet, it soon softens with cello, acoustic guitar and Emi B’s soft, plaintive vocals.
And they all remind me of the good old times
I hold it in my hand, I press it against my cheek
I smell it just to see if this brings you back.”
This juxtaposition of dynamic electric guitar riffs and dreamy, emotional vocals produces a nice contrast, and the introduction of a quirky, almost jaunty tempo adds to the musical inventiveness on show – with more cello, a hint of Floyd perhaps? a return to a heavier rock intensity and then a lovely, succinct soaring guitar solo before a more tranquil conclusion of acoustic guitar with ethereal vocal harmonies. Gabriel states that he was greatly inspired by ‘The Turn of the Friendly Card’ by the Alan Parsons Project, and there do appear to be some compositional echoes within this ever-shifting song.
The Guns are Approaching is another track that mixes light and shade as we return to the muddy, blood-soaked front line with bullets flying above the soldiers and the lyrics telling of the fear and futility of the battle. The music starts with some lyrical and melodic electric and acoustic guitar and lovely clear vocals from Emi, but a more forceful symphonic metal sound soon develops and steadily builds and propels the music into darker areas. Some nice guitar soloing by Gabriel and Charlie Henry over rippling keyboards and the repeating, ominous refrain of: “…the guns are approaching…” I particularly liked the descant-like multi-vocal section that ends the track – that seem to presage the events to come.
“Eyes onto the ground, we’re hoping for a miracle. Lying in the mud, we’re giving in to despair. Looking in sky, the light never came to shine. Back onto the ground and all we have is blood around. Feeling all alone, when all the dice have been thrown. The motto of the war is fear or fight to survive.”
The Letter (Part 2) starts with distorted guitar over a desolate background, before some a chordal guitar stab and then a nightmarish soundscape with the feel of Pink Floyd’s ‘Echoes’. Staccato prog metal-like guitar and incisive drumming (Lucas Biguet-Mermet at his most powerful) takes the music through a run of three solos – Charlie and Gabriel on guitar and then Lucie Lacour on cello – conjuring up the urgency, sadness and anguish of the conflict. When the vocals begin, Emi begins with the perspective of the son and his perceived loss of humanity, before he is called to battle. However, it then switches to his mother receiving a letter announcing his death. Jérôme Aubernon also adds some nice touches of violin to the music here and there. The vocals are deeply poignant and yearning, and they are accompanied by a dreamy, classical-like finale – with rock, baroque and even some folk elements – all highlighting the complexity of this powerful track.
My Son closes the suite, with the mother contemplating the death of her son in the news given to her in the death notification letter and her subsequent grief and loss. Supported by some powerful, but melodic guitar, the vocals ebb and flow and follow a ‘danse macabre’ off-beat swing. We hear the repeated, heart-breaking “What’s the point in a mother living then?” and the Gabriel and Charlie share the final, expressive guitar solo, which takes the song to its fitting, moving finale.
No Surrender might seem a continuation of the war theme, especially with the voices of De Gaulle and Churchill interspersed with the vibrant, undulating guitar, bass and drums and the enveloping orchestration. However, it has a much broader scope and is more of a general clarion call of defiance to never give up and push yourself to survive against what the world throws your way. Originally from the time of lockdown, Emi’s powerful vocals match the busy, contemporary prog instrumentation well, and the track gallops through very effectively. It signals the start of the album’s shift from dark to light as it progresses and emphasises more of the ‘hope’ in the album’s title.
No one will ever surrender.
Fighting to always remember
We’re all strong survivors
Keeping our heads above water.”
Appropriately, a sombre cello opens the song Oppression, as the track relates to celloist Lucie’s serious health issues with her heart that hang over her head like a Sword of Damocles. The music starts with intense metal guitar riffs and driving drums before Manon Coursol and Charlotte Gagnor emotionally sing in French about Lucie’s experience, although more from the perspective of the love and support she receives and the need to move forward despite everything. The lead vocals are interspersed with the harmonies of the choir and while the music has an unsettling darkness throughout, lyrically the track is not without hope.
J’ai empoigne ma vie.
L’amour des miens m’a entrainée
Vers des rives infinies.”
(Translation: “In this badly started game, I have taken hold of my life. The love of my family carried me away, To infinite shores.”)
Poussiѐres Eternelles (‘Eternal Dust’) is another track sung in French, with Angelina Pelluet joining Charlotte on vocals, but it has a contrasting, lyrical lightness of touch. A song originally intended for Gabriel’s debut album, it was worked on during this trio concerts, with subtle changes in chords and melody to create a lovely, ethereal feel, as acoustic guitar and even touches of vibraphone, that tell the story of a drop of water who dreams of becoming a snowflake. We follow its life as it passes the snowy plain of the Urals towards the sunny ones of the Sahara. Inspired by the Swiss artist Sophie Hunger, it is a very pleasing musical interlude, with Angelina’s fragile, graceful voice at the heart of it.
Emi returns on vocals on the Irish folk-tinged Your Way, with a more intimate feel and simplicity to the song, although there are some nice harmonic progressions and edging chords within the acoustic guitar and cello-led music. Its optimistic and hopeful lyrics ask us to let go of the anger and sadness and find a way to happiness.
Another song from the lockdown period follows with the idiosyncratic Change. Gabriel calls it an ecological fable, with the questions being asked at the time and our hope to leave our children a better world. It has a nice jazzy swagger, with verses in 5/4, and the Simon Rebuffat on drums creating a fluid groove. Emi’s free-form vocals have a Suzanne Vega-feel mid-way and the whole song seems to straddle many genres (funk, pop and reggae), with some telling electric guitar towards the end. It’s an infectious tune that really gets into your head with repeated listens.
A bitter-sweet love song, Mahaut, ends the album very satisfyingly – with Charlotte, Lucie and Gabriel providing a beautiful wash of vocals over an evocative guitar, bass and cello soundscape. While essentially a break-up song, there is still a message of love to be found at the end. The calming atmosphere is such a stark contrast to the intensity of the earlier songs on the album, but it is that ‘hope despite everything’ which Gabriel wants to emphasise on this album – and I think he does it rather well.
Hope Despite Everything by Gabriel Keller is a diverse and intense progressive rock album by the French composer and guitarist that deserves a much wider audience than within his own country. The contrasting and inventive musicality, the lovely lyrical vocals and profoundly emotional swings are both challenging and yet highly refreshing and enjoyable as well. The dark despair of war mingles with the shining light of love and hope, creating a holistic beauty for anyone willing to embark on the journey with him.
TRACK LISTING
01. Why (2:12)
02. The Letter (Part 1) (6:18)
03. The Guns Are Approaching (6:08)
04. The Letter (Part 2) (9:58)
05. My Son (4:59)
06. No Surrender (5:21)
07. Oppression (4:39)
08. Poussiѐres Eternelles (4:18)
09. Your Way (3:27)
10. Change (4:18)
11. Mahaut (4:23)
Total Time – 56:01
MUSICIANS
Gabriel Keller – Guitars, Bass, Percussion, Backing Vocals
~ With:
Emi B – Lead Vocals (2-6,9 & 10), Backing Vocals (1)
Charlotte Gagnor – Lead Vocals (7 & 8), Backing Vocals (1,2,5-8 & 11)
Lucie Lacour – cello (1,2,4,7-9 & 11), Vibraphone (4 & 8), Backing Vocals (1-11)
Charlie Henry – Guitar (3-6 & 10), Backing Vocals (1)
Lucas Biguet-Mermet – Drums & Percussion (1-7), Backing Vocals (1)
Simon Rebuffat – Drums (8 & 10)
Manon Coursol – Lead Vocals (7)
Angelina Pelluet – Lead Vocals (8)
Jérôme Aubernon – Violin (4)
ADDITIONAL INFO
Record Label: Quadrifonic
Country of Origin: France
Date of Release: 24th June 2024
LINKS
Gabriel Keller – Website | Facebook | Bandcamp | YouTube | Instagram | Bad Dog Promotions