Released by: Unicorn Digital
Release Date: Out Now!!!
Genre: Progressive Rock
Links: https://www.huisband.com/
Tracklist:
Sylvain Descôteaux – vocals, keyboards
Michel St-Père – guitars, keyboards
Johnny Maz – keyboards
Martin Plante – drums & percussions
Michel Joncas – bass, bass pedals, keyboards
Guest Musicians:
Éloïse Joncas – vocals on Failing
Tracklist:
1- Chaos
2- Paralyzed
3- Westminster Bridge
4- Requiem for the Last One
5- Crossroads
6- The Miracle
7- Burning and Drowning
8- Failing
Huis, hailing from Quebec, Canada does a great job honing their craft for 1 hour 11 minutes on their fourth release. It’s time you will have spent listening to something much more than surface level music.
This album “In the Face of the Unknown” is a true prog classic, from lengths of songs, to lyrical value and thematic elements. I found myself not paying attention to the time of songs, because they all really were good.
If you’re a fan of Dream Theater, Rush, and those quintessential 70s, 80s, even 90s prog bands you will get into this band. They do lay heavy on certain synth sounds, a little too much for my liking at times, but then again, given the overall picture this album is actually done really well and all parts get their respective equal time.
For starters the recording is top notch, the mix job is on par, nothing is left behind in quality. It certainly feels like everything was thought about. Their use of harmonies, changing from major to minor keys, and meter changes is done flawlessly. It feels natural, rather than forced, a super weapon you can count on, which I say in a good way.
Chaos – The album starts off quite calm and ethereal given the name of the song until about 1:45 where the namesake of the song plays heavily. This is also the longest song on the album, nothing like starting off heavy and in your face. They employ the ups and down, textures, meter changes and both major and minor keys in perfect placement. It’s hard to give this one a full breakdown, because there’s so much to listen to. Frankly between you and me, I think you just need to listen to it! Chances are you’ll thoroughly enjoy it. I know I did.
Paralyzed – The intro to this one is dark, gloomy and I love it. But then enter the keys and guitar and it has a Pink Floyd “The Wall” feel. The dance between keys and guitar is a creature of connection, and maybe habit, for this band I can tell, and they do it so well! This song is such a subtle dance for the first 2:50 where we are hit in the face with the single anthem rock strums, leading into a catchy funky groove that keeps you moving your head. The chorus is quite different, and I appreciate that you can tell that it’s there, but it’s not like a typical chorus with a lead up, not it just hits. I think the bass does a really good job in this song, from tone to keeping beat. The last 1:45 is a nice long extended outro bringing everything to a nice close. Something unlike the rest of the album.
Westminster Bridge – We are presented with a heavy rock theme song, the drums really help this cause. If you were wondering this is the first feeling of Dream Theater on the album and it helps keep things moving. The percussion in this song is essential, the way it’s done. The vocal harmonies are really well done in this tune. I like the guitar work in this song and how it plays with the vocal line. It’s a dance they don’t do much all around as they like to focus on the softer arpeggiated sweep picking, when they aren’t in chord mode or overdrive mode.
Requiem for the Last One – Love the drum start and the heavy hitting synths. I mean for real the range of emotions and textures you experience in just the first two minutes alone…you can’t go wrong. When the vocals hit, the moving percussion compliments the picking guitar nicely. But before you know it, you’re in a valley of harmonizing voices surrounded by guitars and synths. The middle gets a good breakdown giving the song a real Devin Townsend vibe. But just when you thought you were going back to a vocal melody, wait…there’s more! I liked how the song really gives you an inkling, and then changes course. Finally right near the end of the song we’re given one last vocal melody which is ended abruptly and done very well.
Crossroads – Coming in at the second longest song, with a metronome sound you’re treated to a somber arrangement of bass and piano. I really like the tone of the bass in this tune. The guitar in the background compared to the vocals in the front really gives this song some 3D space construct as well. And then like a good sleight of hand they switch to that major key and we’re given a cacophony of sound befitting of a movie soundtrack. I like how this song has a constant beat to it, it really works nicely with the overall theme. Even in the textural changes remains that beat you can find easily. The guitar solo is absolutely beautiful! Then out of nowhere we transition into a synth solo for the books, that’s for sure. We go back to a section of changes of staccato style percussion and guitar lines compared to the rest of the song which is much more droned out in nature. This is probably my favorite song so far. Between Requiem and this one, there’s an emotional connection anyone can feel in this one. With lyrics like the following, how can one not relate? The ending solo, vocal choruses, and powerful push it hits hard.
“We’ve walked for miles
Highways of dreams and evil desire
It was more than a nightmare
These streets were all the same
So many miles
to finally see the sign
When all the roads just lead to nowhere
Look for a sign and choose
Freewill I hoped would take me somewhere
It brought me back to you”
The Miracle – measuring in at the shortest song, the intro to this song is a beautiful dance between piano and guitar. I appreciate the “space” found in this song amongst everything. I just feel this palpable space where I haven’t felt that too much in the other songs. This song definitely has an 80s influence with the chorus effects on the guitar and heavy stadium rock sound.
Burning and Drowning – It has a cool delay and echo intro, similar to something you might find on a Sleep Token album to be honest, without that Sleep Token heaviness. This song is very contextual I feel like, there’s lot of breaks in the intro, and almost feels like you’re floating or jumping from mountaintop to mountaintop until about 1:45 when you get that quick walking, slow running, maybe a light jog pace, and the bass and guitar intertwine. The synth gives you a little wave from the sidelines before we get into some heavy lyrical content. I really like the guitar riffs at the 4 minute mark. Again another solo that hits in all the best ways, complimenting the music perfectly. There aren’t too many rhythmic changes in this song, rather those that do change are longer and drawn out. I like how this song starts and ends with the programmed synth sound bringing it all together.
Failing – I REALLY like the intro to this song, probably my favorite of every song on this album. The key change guitar solo, and double bass pedal section – unexpected, but I like it. This song has some of the most in your face prog elements of any song found here. I’d break it down, but this is one you just need to listen to. I can see, hear, and understand why it’s the pinnacle last track. Hands down my favorite song.
Final comments, pick up this album, stream it, do whatever you need to.
Written by: Chris Rugowski
Ratings: 9/10
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