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Fates by Erik Mongtrain is a French recording. The liner notes are all in the language of love. And since I didn’t do very well in taking lessons, I am at a bit of a loss. But between my study of romance languages (Latin, with Spanish and a smattering of bad French) I have an ability to figure on the context of the written word. On the back page of the liner notes, I can glean that Erik is thanking the people behind the recording for ‘all of their encouragement and perseverance’. Luckily the recording is classical acoustic guitar and Midi Synthesizer, without lyrics, so the music itself has a much more universal feel.
Each tune comes with liner note descriptions in both French and English. They are more tonal poems to cast a spell over the song. For example: the note for ‘Fates’ reads, “I do not believe in destiny, chance does not exist…All is synchrony. Nothing happens for nothing, everything has its purpose, even the smallest thing! My vision it is, not necessarily yours! Here is however my ode to this synchrony called life…”
“Percustien F A” opens the recording and it is almost like a prelude and fugue where a musical melody is explored in different manifestations. The basic tune is twisted and turned past the point of recognition. The ending finds a percussive stand. “Fates” comes across with sad undertones. The tempo is a waltz but without the formality. As a solo piece, it is the most satisfying of all the music.
“La Derniere Pluie” is a song about rain. And since it is raining outside (again), the actual downpour gives the music from the speakers some added heft. The music flows like rain, stopping and starting while somehow keeping the backbeat constant. “Fusions” is the single most melodic piece on Fates, simple in basic execution but complex with the flourish. It drives more like an instrumental done by a rock band than a classical composition.
Out of all the tracks, “Geometrie D’une Erreur” feels most like an Enya composition. The interplay between guitar and keyboard suggest a very ancient song. I don’t think the music is a giant mistake. “Mais Quand?” translated to “But When?” and comes off morose like a dirge. While there are some playful bits the overall feel is down.
According to the liner notes “Air Tap!” is one of those songs that came out on a morning in Spain. All the sadness from “Mais Quand?” is counterbalanced with “Air Tap!” The guitar explodes in delight as if it were some solo hymn. There is this interplay that make it feel as if two guitars were battling musically for the ear of God. It is joyful to the masses.
At Track # 8 is “Confusion #8” where Erik is exploring in music the idea of losing ones mind. While a noble attempt, the concept doesn’t work like one would hope. This little song gets bogged down in the repetitious notes. “Interpretations” comes across as water music. Not some beach song but of actually being under water with the music gently washing over the body. Imagine a Yanni composition.
“I Am Not” the ending tune and of all the tracks it feels the most unfinished. There should be a full orchestra playing along with Erik, giving heft to his acoustic performance. The more filled out this composition tries to be with a synthesizer, the more it needs to be with the real thing.
This is a recording for those who love New Age music; artists like Enya, Enigma and Pilgrimage. While it is a masterful bit of playing, I think that ten tracks at once it a bit much. But it would make a great mix on a shuffle Ipod.
