NAD SYLVAN: The Regal Bastard (PROGRESSIVE ROCK): review / opinion to read on Music Waves

Nad Sylvan's international career owes much to Steve Hackett, with whom he travelled the world for the "Genesis Revisited". This Swedish artist also collaborated with Roine Stolt and Unifaun for a project that remained firmly anchored in Genesis' sound landscape. Nad Sylvan began a vampire trilogy in his own name in 2015, of which "The Regal Bastard" is the third volume.

The story itself occupies the first 7 titles and takes up the adventures of the Vampirate, a 400-year-old aristocrat with a big heart. The style is confined to a progressive symphonism and appeals to the many guests Nad has encountered during his travels. These prestigious participants know their business and are the true craftsmen of the quality of the work, supported by an impressive production. Guthrie Govan is immediately noticed for her excellent guitar solo on 'I am the Sea', Jonas Reingold ensures with an excellent presence on bass throughout the album and Steve Hackett contributes with his solo on 'Honey I'm Home'.

On the composition side, however, there are very few surprises, and when the guests are not present in the songs, the intensity is rather low: "Leave Me in These Waters", rather soothing, owes its salvation only to the intervention of Guthrie Govan, "Ohahu" is a rather ugly song with a ridiculous limited chorus, and many songs would have benefited from being shortened, notably "The Regal Bastard", too long by two minutes.

And then there is Nad's voice, which will not leave you indifferent: between Fish and Niclas Flink (Carptree), he officiates without the power of the former in his good days nor the delicacy of the latter and with a timbre that often sinks into the nasal passages while keeping a precious or handled side.

Another problem: the music has very little to do with the vampiric universe, which is dark and worrying at first sight. Nad has chosen to use a key that often sounds cheerful ('The Regal Bastard','Honey I'm Home','Oahu') and willingly precious (harpsichord, violins...) that seems far from the world he would like to describe.

The last two "bonus tracks", played by a different team (a trio), are disconnected from the rest since they are not part of the Vampirate concept, and do not bring much musical value to the album: "Diva Time" has little interest and the end of "The Lake Isle Of Innisfree" is going in circles.

In short, the impression that emerges from listening to this "Regal Bastard" is that Nad Sylvan enjoyed himself by staging himself in a rather vain theatrical universe. Paradox in a singer's record: it is the instrumental parts that are the most enjoyable! - Official website

NAD SYLVAN

THE REGAL BASTARD

INSIDEOUT MUSIC

PROGRESSIVE ROCK