Yang biography:After the dissolution of landmark French band PHILHARMONIE and their swan song "Le Dernier Mot" in 1998, guitarist Frederic L'Epee resumed his unique and intricate take on modern
instrumental rock with his next project, YANG, in 2002. L'Epee, Bassist Stephane Bertrand, drummer Volodia Brice, and second guitarist Julien Vecchie (a guitar student of L'Eppe's) each contributed to an immediate, tight-but-lose sound that is carefully constructed but never deprived of its power and rawness. A gathering of influences from ROBERT FRIPP,
jazz fusion and heavy
rock, YANG reinvigorated an approach that is at once metrically diverse and comfortably inviting. In February 2005, the line-up changed. Bass player Nico Gomez replaced Stephane Bertrand and Laurent James took over for Julien Vecchie on second guitar.
"A Complex Nature" (2004) was the band's debut and presented a rough-edged but quite sophisticated progressive statement. The cuts are unified yet diverse, with inventive mixes of angular
rock and jazzy escapades and was recorded sparsely over three days in order to retain spontaneity and a live feel.
For fans of
instrumental rock fusion with equal parts precision and garage atmosphere, YANG is strongly suggested and is a fresh departure in the distinguished career of Frederic L'Epee.
Album Review:In 2004, master guitarist Frederic L'Epee was back in top form... and with a vengeance. After dissolving the great French
rock fusion band Philharmonie in 1998, L'Epee broke away from the clean and seamless sophistry of his past project and formed a looser, harder and more versatile union of great players; bassist Stephane Bertrand, drummer Volodia Brice, and his student Julien Vecchie on second guitar. With precise polyrhythms in one hand and urgent rebellion in the other, these guys rip apart eight tracks of some rough-edged
rock with a jazzman's sensibility, hopping between manic, Hendrix- tainted guitar stank and quirkey white man's
jazz.
The harmonic abrasions of 'Les Deux Mondes' start us off and lead into the smart and powerful riffing that is the trademark of this ensemble before quieting down and rising again to finish the job. Demanding, melodic, marvelous. 'Souterrain' continues in this mode, and 'Seducteur Innocent' percolates with chunky chords,
jazz breaks and nice twin-guitar harmonies. 'Compassion' calms things down a bit and meanders soothingly, showing hints of Frippism, 'Manchild' reflects the arithmetic progressions of Don Caballero and the math scene, while 'Impatience' bops with a nod to the melancholy electric
jazz of Joe Pass and Wes Montgomery topped-off by some heavy mud. 'Le Masque Rouge' finishes this very pleasing CD.