If you enjoy classic-era symphonic prog rock, but with a modern touch, then the wonderful debut release from the French progressive rock project Oddleaf is highly recommended. Where Ideal and Denial Collide is a compelling album full of epic, richly layered, sumptuous and dream-like compositions that mix the timeless prog of Yes, Camel, Genesis, Renaissance and King Crimson, with more contemporary influences such as Wobbler, Agusa, White Willow, Mostly Autumn, Monarch Trail and Big Big Train.
The use of vintage keyboards, such as the Mellotron and Hammond organ, defines the lush and luminous musical soundscapes, but the inclusion of electronic and acoustic flute, four-part vocal harmonies and expressive female vocals in English, add a pastoral beauty and depth that draws you into the music effortlessly.
The band started in 2020, with Carina Taurer (keyboards) and Matthieu Rossi (flutes) moving on from their early/medieval classical music and developing more progressive rock-orientated compositions. Joined in 2021 by Olivier Orlando (guitar and bass) and Clément Curaudeau (drums), the final piece of the jigsaw was completed with Adeline Gurtner, replacing the original vocalist Olivier Marcaud in 2023 – accentuating the more feminine aspect of the band’s music. Where Ideal and Denial Collide represents the culmination of four years of hard work and is a truly wonderful symphonic prog rock album.
There is a cohesiveness to the album, with each track musically and lyrically connected by ecological and humanistic themes – celebrating the majesty of nature, whilst questioning humanities place within it. Even the impressive CD artwork is a link to several songs on the album.
The Eternal Tree is the short opening instrumental, full of atmosphere and darkly dreamy instrumentation. Carina’s repeating piano pattern is steadily built upon by deep keyboard chords and then some swirling synths over an insistent beat, with flute notes and a subtle folk-like character developing. It is a well-pitched, cinematic introduction into the music to come, and flows into the first of several extended epics on the album.
Life begins with ethereal vocal harmonies mingling with some lovely keyboards, while Olivier’s deep bass and Clément’s drums push the music through to Adeline’s lovely and warm lead vocals, which float smoothly above the dense instrumentation. The intelligent, poetic lyrics conjure up the birth of planet Earth and its development over 4 billion years, along with Mother Nature’s endless cycles of growth and renewal, despite the efforts of mankind to disrupt it.
“Precious life, endless birth,
This is our Mother Earth,
Water, air, desert, snow,
Let’s fight for her, because…”
Musically, it ebbs and flows, with dreamy and delicate passages transitioning into complex, intricate and chaotic sections with retro stabs of Hammond organ, as the bass and drums power through. The sound of water and birdsong are joined by Mathieu’s pastoral flute, with piano and vocals then taking the track to a satisfying and thoughtful conclusion, as the winds of time blow.
Ethereal Melodies is a lovely folk-drenched slab of melodic prog, with some initial acoustic guitar and infectious, madrigal-like flute providing a soothing rustic feel to it all, which reminds me at times of the Swedish band, Agusa. Adeline’s singing almost has a feel of Magenta’s Christina Booth at times and the backing vocals, keyboard wash and piano support her so well.
The evocative lyrics, written by Mathieu, seemingly transport us deep into ancient woods and the journey from a seed deep in the ground to the splendour of a fully grown tree. However, the tree is an allegory for the world – representing humanity. Carina tells me that the leaves, twigs and branches represent individuals or groups of individuals in society, and the golden or ‘odd’ leaves (hence the band name) represent those who try to open the eyes of others to the hope of change, unity, coexistence, respect for nature and the desire for renewal in our society.
“Ethereal Melodies,
From millions of my leaves,
Are spreading hope and peace.
The only way for me,
Guardian of the prophecy,
For I’m the eternal tree.”
It is a revolutionary, but peaceful message, delivered within a wonderfully accessible slice of symphonic prog, and a good choice for the album’s promotional single. The uplifting guitar solo from Oliver towards the end provides a lovely focus to the music before the synths take us through to a contemplative and serene conclusion. A slightly shorter, clip edit of the track is also available on the album download.
The longest epic on the album is the melancholic and multi-faceted Back In Time. Composed back in 2021 during the pandemic lockdown period, the lyrics follow a woman looking back nostalgically at the past, childhood, family and the simplicity of life, in sharp contrast to the fear and isolation of her present life. The music accompanies the story well – starting with emotive and atmospheric keyboards and vocal harmonies over poignant flute lines, before slightly disturbing piano notes and a rhythmic build-up set up Adeline’s longing vocals begin.
“Bring me back in time
Take me through the tunnel of life.
Bring me back all this colours of a long gone past.
Bring me back to a simple life,
Please take me back in time.”
There is a breezy, jazz-like interlude with flute and Hammond organ sounding a touch like Focus to these ears, before a return to the reflective main theme. The spoken, questioning words of Dan Curtis, enhance the unsettling feeling building up, with the instrumentation switching from intricate and complex, to a slower, more plaintive ambience. Sadly, the woman’s journey into the past has seen her slowly sink into madness, and the yearning sadness of the closing vocals is in sharp contrast with the frenzied mix of off-kilter flute, edgy keyboards and manic laughter, signalling her mind’s fall into the abyss.
Prelude is a short, synthesized introduction to the closing track of the album, the instrumental Coexistence – Part 1. This is a track that will delight any fan of classic keyboard-led symphonic prog rock. Carina’s superb keyboard skills really dazzle and shine, as do Olivier’s bursts of resonating electric guitar. The musical template twists and turns, with Clément’s busy drums keeping everything pushing forward. More Hammond organ to savour before a change in tempo, and Mellotron, soaring flute and acoustic guitar provide a period of relative calm. However, the music then takes on a dark, heavy intensity with echoes of both King Crimson and Yes – majestically climbing higher to a wonderfully proggy crescendo (I’d liken it to Red/One More Red Nightmare meets The Gates of Delirium/Starship Trooper) before it finishes in a dark, echoey and surreal soundscape. Like so much on the album, there is just so much going on – it is impossible to describe adequately in just a few lines. I can’t wait for Part 2!
I am genuinely excited and pleasantly surprised by this new French progressive rock band. Oddleaf are not necessarily breaking new ground with their debut album, Where Idea and Denial Collide. However, their unique take on symphonic prog rock – mixing retro with modern, adding pastoral elements and delivering intelligent, articulate and thoughtful lyrics and themes, has produced music that is an absolute joy to listen to. The surprise package of the year for me, for sure – this is not an album for prog rock fans to miss out on. Highly recommended!
Released October 11th, 2024 (CD, Digital)
Order from bandcamp here:
https://oddleaf.bandcamp.com/album/where-ideal-and-denial-collide
Heureux acquisiteur de ce premier opus, je ne me lasse pas de l’écouter et d’inviter quiconque à suivre ce surprenant groupe qui démarre fort, très fort !
J’attends la suite avec impatience et espère que cet album retiendra l’attention des organisateurs de festivals et de concerts, histoire que je puisse les découvrir en live, accompagné de tous ceux que je motiverai à m’accompagner.