Patrick Rondat
Amphibia

We're in 1996, and following in the footsteps of great guitarists like Steve Vai, Yngwie Malmsteen, and Joe Satriani, the very French Patrick Rondat decides to release this beautiful solo album called "Amphibia." Composed of two songs, "Amphibia" and "Vivaldi Tribute," the album flies by thanks to the guitar virtuosity and the great melody that pervades the album throughout its 32-minute duration.

Moving on to the songs, it starts with Amphibia, a track divided into six different compositions, three of which are long and three of medium length: the introductory part of the album showcases the excellent technical skills of the musicians accompanying Rondat, presented mainly as a piece played almost entirely on the keyboard parts; Patrick timidly starts to be heard halfway through the song, only to fully express himself and deliver a solo of considerable charm and uniqueness: the speed of execution and the precision of the various artists are notably impressive. Thus, we move to "Amphibia 2," a considerably lengthy instrumental (6 minutes and 36 seconds), primarily based on magnificent guitar solos admirably accompanied by other instruments that provide musical surroundings to create an outstanding melody with a remarkable technical impact. The numerous tempo changes and the complexity of the song will turn it into a true masterpiece of instrumental progressive.
The third part is yet another goal scored by Rondat; this time, the instrumental takes on a more introspective and reflective tone, showing us a guitarist with remarkable compositional skills, capable of touching the deepest feelings of the human soul, presenting us with a very slow and calm piece accompanied solely by keyboards. After the tranquility of the third instrumental, we move to the most beautiful track of the album: "Amphibia 4," which starts immediately at its best with a drum and guitar base, serving as an "intro" to a slapped bass that will accompany us throughout the song's duration. The atmosphere becomes sadder and more intense thanks to the notes Rondat draws from his guitar neck. Once again, the execution proves to be perfect in every detail. The 5th part returns to calmer tones, which in this case become almost carefree. The duet between piano and acoustic guitar showcases the skill and refinement of these virtuosos and the delicacy of the compositions. Excellent guitar solos vaguely remind us of the late Segovia. We approach the album's end with the penultimate track, also the last part of "Amphibia," a song entirely based on speed and execution precision, which, however, leaves the listener slightly more detached this time. The "Vivaldi Tribute" is yet another instrumental, primarily played between keyboards and guitar, where the drum assistance is crucial. Nothing to say, except that the keyboards this time are of questionable taste.

In conclusion, an excellent album, perhaps too little known and underrated, but for those who haven't listened to it yet, it could be a great surprise.