PATRICK RONDAT: Amphibia (GUITAR HERO): review / opinion to read on Music Waves

To come to put in light an album dating from 1996 while we are in 2022 can seem surprising. However "Amphibia" is part of these works sometimes forgotten or often unknown which deserve that one lingers there. At this time, Patrick Rondat is already a guitarist recognized in particular for having participated in Monsters of Rock and having accompanied Jean-Michel Jarre on his tours. Author of a promising "Rape Of The Earth", he presents his new offspring, "Amphibia", a very ambitious concept album entirely instrumental which represents for many fans his most accomplished album.

Those who know "Amphibia" have often discovered it after having watched on Youtube one of the countless covers of Patrick Rondat's free interpretation of 'Summer' from Vivaldi's 'Four Seasons' via his title 'Vivaldi Tribute'. Despite the numerous technical aspects of the guitar that can be found throughout the song such as tapping or the back and forth (some do it in sweeping) to name only the easiest, this track remains very melodic and very effectively approaches the original composition. The band that accompanies Patrick Rondat is not left out since we find on drums Tommy Aldridge (Whitesnake), one of the pioneers of the double pedal, and the bassist Patrice Guers who will be later hired by Rhapsody.

Even if 'Vivaldi Tribute' is an anthology piece and certainly the attraction of the album, it would be very reductive to speak only about this one when we evoke "Amphibia" which draws its name from the 25 minutes long composition cut in 6 parts that we find at the very beginning. Starting on an atmospheric introduction with an aerial guitar on a background of keyboard layers, the first part allows to install a certain tension which explodes on the second part more in adequacy with what one expects from a guitar hero album. Patrick Rondat makes his guitar sing, howl or cry as well as ever, accompanied by an unflappable rhythm section. Intelligently, the third section which acts as an interlude allows to rest the ears with its small aerial solo on a keyboard background which reminds strongly Pink Floyd or even Brian May.

It is with the fourth part that things become really interesting. Because if the guitar still works wonders on a very melodious chorus in total opposition with verses and bridges rather sharp, effect reinforced by the slap of the bass, it is especially rhythmically that the composition shines with its alternation of binary measures (4/4) and asymmetrical (5/4). The omnipresent double pedal is perfectly exploited and never tires, making this section one of the most interesting to listen to. The fifth movement follows the classical pattern allowing the piano to free itself a little and to relax the atmosphere to follow on a sixth and last part more rock, containing once again its share of ascents and descents of neck and a final very close to what we can find in 'Vivaldi Tribute'.

Swallowing the 6 parts of 'Amphibia' as well as the 'Vivaldi Tribute' remains a trying experience. It will not be surprising for the listener, especially for the non-guitarist/musician, to find it difficult to appreciate the last compositions, especially since they are based on a previously proven technique. It is undoubtedly the only defect that one can find on this opus. If an album of guitar hero is in itself rarely easy to apprehend, "Amphibia" finally achieves the feat of being a timeless work and relatively accessible for a neophyte. It was not won in advance... - Official website

PATRICK RONDAT

AMPHIBIA

AUTRE LABEL

GUITAR HERO