| Reviews Musiciens-Magiciens (1974) Next to Ange, Atoll were probably the most influential of the French symphonic groups. With their debut album Musiciens-Magiciens, they arrived early enough to precede and place their stamp on later (and better) albums from the likes of Shylock, Carpe Diem, and Pulsar. Indeed, while undoubtedly an important album in the French progressive rock continuum, Musiciens-Magiciens is still plagued by some rather obvious debut album deficiencies. Most noticeably, the band is still in an overly-reverential phase, nodding far too heavily in the direction of English progressive rock pioneers, particularly Yes. While the French vocals and the occasional dynamic passage hint at an eccentricity they would later develop, most of the album is taken up by a rather bland, derivative symphonic rock. Occasionally, such as on the quasi-epic "Le balladin du temps" and on closer "Le Suis d'eilleurs", the vocalist gets caught up in attempting to hit Jon Anderson-like notes that he can't quite reach. Mellotron, synthesizer, cutting guitar work and Squire-esque "lead bass" dominate the melodic landscape, and while all the instrumentalists are noticeably competent, the tunes in general lack much in the way of dynamic or emotional urgency. Saving graces include the infectious opener "L'hymne medieval", scattered portions throughout the rest of the album. On the whole, Musiciens-Magiciens is an acceptable debut, but still sees Atoll trying to find their own voice. - Greg Northrup [December 2002] Click Here for Tracklist and Lineup Info L'Araignee Mal (1975) Wow, what a difference a year makes. On their second release, L'Araignee Mal, Atoll had managed to carve out a distinguished niche in the crowded French prog scene of the 70s, at times sounding like a completely different band than on their debut. The overt Yes-isms of Musiciens-Magiciens have largely been done away with. The fey Anderson impersonation and cloying symphonic clichés are replaced with a confident, biting instrumental edge, with an almost fusion tinge at times, and assertive, dramatic vocals. That's not to say this isn't a symphonic prog album, it certainly is, and in the best sense of the word. On this platter, Atoll move into the darker realms that would later be explored by the likes of Pulsar, yet with a much greater sense of urgency. All of the pieces display an obvious confidence and ability on the part of the band to stretch out instrumentally, and every musicians fits into their respective slot with extraordinary aplomb. Particularly impressive this time around is the strident, pulsing rhythm section, which navigates the band through numerous time changes and main melodic themes, interacting powerfully with the now blazing guitar solos and rippling synthesizer melodies. The dynamic ranges of the individual pieces are far more effective, as in the title track, where pastoral mellotron flute-patches back airy guitar melodies, before building into surging, vocal-led climax with cascading moog melodies. More often, the peaks of the respective tracks are characterized by fantastic, inspired solos, on both keyboards and guitar, trading off with catchy melodic motifs which fly by at such a pronounced pace that it's difficult to keep track of them. The finale of "Le Cimetiere de Plastique" almost comes off like a better version of what the first album attempting, as soaring, melodic keyboard themes continuously develop, while emphasis from rumbling bass lines and tasteful guitar commentary provides maximum emotional effect. Each and every track on L'Araignee Mal is uniformly excellent, and it is easily among the finest French symphonic prog albums. - Greg Northrup [December 2002] Click Here for Tracklist and Lineup Info Tertio (1977 ) Tertio is the third album from the great French prog group Atoll, and while a slight departure from their previous work, it remains an extremely solid and enjoyable listen. On Tertio, Atoll has put much less emphasis on the rousing instrumental solos, and the fusion bent that reared its head occasionally on L'Araignee Mal is largely absent. Instead, Atoll turn in an effort of top tier symphonic prog, yet with a gritty edge that is undeniably their own. For starters, the album is far more vocal-oriented this time around, but that's not to say the band's sound is streamlined a whole lot. Rather, the lack of extended solo forums for the individual musicians means that thought-out band interplay and intricate composition take on a greater role. Fortunately, nearly all the pieces are engaging from beginning to end, filled with strong melodic themes, continuously shifting counter melodies and satisfying rhythmic twists. The aforementioned vocal dependency is obvious from the get-go, as the pieces are generally built upon the central role of the vocal melody, which thankfully, is usually strong. Only on "Gae Lowe" do the vocals enter into the ill advised Jon Anderson range, and the moment is so brief it's barely noticeable. However, it wouldn't be symphonic prog without the extended instrumental sections, which are clearly Atoll's strength. Generally, they are comprised of towering, intertwined Mini-Moog and guitar melodies, backed by heaving mellotron washes. "Tunnels II", in particular, builds on a repetitive groove towards an explosive, layered finale. Certainly, Tertio does not quite grasp at the shuddering emotional heights of its fantastic predecessor, perhaps due to its more song oriented style. Nonetheless, it is a solid addition for collectors of French symphonic rock, and an effective cap to this band's classic era. - Greg Northrup [December 2002] Click Here for Tracklist and Lineup Info