Mouvements Un Drame Musical Instantane

Hasse Fröberg is well known for his contribution for more than two decades as a singer and guitarist in The Flower Kings, as well as his work with the Swedish hardrock band Spellbound in the eighties. HFMC also consists of Anton Lindsjö, Thomsson, Kjell Haraldsson and Ola Strandberg. The band members have played together with names like Glenn Hughes, Michael Schenker, Jeff Scott Soto, Joe Lynn Turner and of course Spellbound. HFMC has a warm and unique sound of their own with influences from Progressive Rock, Classic Rock and even a hint of Pop…

Hasse Fröberg & Musical Companion is a band formed by its namesake, Hasse Fröberg. Hasse is most famous for his work as a vocalist and occasional guitarist of symph-prog titans The Flower Kings. After TFK went on hiatus around 2008, Hasse decided to form a new band in order to present 'songs that [he has] written through the years that don't fit the T.F.K formula.' "Powerplay" (2012) is their second studio album. What we have here is pretty solid music, sometimes very close to what The Flower Kings done in past years but this time this style is melted with hard rock elements, giving in the end a heavy prog album quite spectacular in places. There are lots of melodic hooks, nice instrumental passages, and keyboard driven arrangements. Also the voice of Hasse is very strong, he has a warm vocal tone who is fiting perfectly into this type of music. The musicianship and songwritting is top toch, every musician involved here truly shining.

French violinist Clement Janinet composes music for quartet inspired by the lyricism of the free jazz melodies of the 60s (Ornette Coleman, Phoraoh Sanders, &c.) and the timbral and rhythmic textures of repetitive music (Steve Reich, Philip Glass, John Adams, &c) in several quartet configurations including bass clarinet, tenor sax, bass, drums, guitrar, and cello.

La célèbre épopée biblique relatant le meurtre d’Abel par Caïn est connue de tous, mais la mise en scène qu’Alessandro Scarlatti lui a dédiée l’est beaucoup moins. Thème récurant pour les oratorios italiens au XVIIe siècle, le sujet est traité ici à la manière d’une histoire policière. Avec un effectif musical réduit, il nous transporte dans un univers baroque étourdissant. Les accents lyriques sont d’une expressivité rare tandis que l’orchestre, faisant preuve de beaucoup de psychologie, exulte. Par bonheur, la prise de son est à l’avenant. Les divers plans sonores sont respectés avec une très belle transparence et une foule de détails sur les voix et sur les instruments.