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About first fragment.

• Dasein (2016)
• Gloire éternelle (2021)
• The Afterthought Ecstasy (2010)

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Generally Impressed With Riffs

First Fragment – Gloire Éternelle Review

Captain on October 22, 2021

[Artwork by Adam Burke / Nightjar Illustration ]

It’s probably not the best idea to kick things off by making an outlandish claim concerning First Fragment guitarist Phil Tougas being a shadowy villain bent on provoking fledgling guitarists to heave their instruments out the window, but it wouldn’t be terribly shocking to discover he’s to blame for at least a quarter of the guitars launched into the Yamaha Pacifica Landfill that’s currently visible from space. Yes, of course complex play such as what’s heard on this recording can and most certainly does inspire humans the same way venerable vets such as Vinnie Moore, Yngwie Malmsteen, Tony MacAlpine, Greg Howe and countless others encouraged emerging guitarists to hone their chops to the next level, Tougas himself included, but a record like Gloire Éternelle really does find a higher gear wholly unfamiliar to vehicles built on this Earth. So, yes, if you fancy becoming a whizbang guitarist but have self esteem issues, you’d better have your emotional support animal (Yngwie Meowmsteen?) in the room before taking this album for a spin.

If you’re already familiar with these virtuosi Québécois, you likely caught wind of the First Fragment debut full-length from 2016, Dasein . That record was technical death metal, and it was stacked to the rafters with the sort of note-entangling wizardry one would expect from a crew of musicians who perchance spent their respective babyhoods wide-eyed and excitedly filling diapers whenever Bach concertos were played in lieu of yet another mind-numbing Raffi album, and who eventually attached Ripping Corpse songs to early MySpace pages.

Album number two, though— Gloire Éternelle —is not really technical death metal. This is clearly an important distinction that’s deserving of a little extra highlighting before moving on, so…

Gloire Éternelle is not really a technical death metal album.

Sure, a modicum of death still hangs in the corners, mostly thanks to the continued commitment to grisly growling front to back in preference to ensnaring Jeff Scott Soto or Rob Rock in a bear trap to urge either to revisit yon days spent alongside Yngwie or M.A.R.S. Everything else, though? Pure “Extreme Neoclassical Metal” with enough twists in the path to discombobulate even the most accomplished ranger. The deviation from death doesn’t mean the record is without aggression, though. The pacing is typically aggressive, or at least conducive to some form of bushy-tailed combat, and vocalist David AB finds an assortment of clever ways to growl, bark and gnarl as an ideal counterpoint to the limitless charming melody.

Can’t get enough shredding leads? Buddy, this record is like a holiday weekend trip on the 70,000 Tons of Ibanez RG550s cruise ship. What helps set Gloire Éternelle apart is the fact that the shredfest is as much geared toward the bass as it is the 50-stringed guitars Tougas and Nick “Thriller” Miller likely play. Indeed, I very literally do not know how humans do much of any of what’s found on this record, but the way Dominic “Forest” Lapointe’s bass and the guitar work from both Tougas and Miller battle back and forth throughout every song is nothing short of flat-out extraterrestrial. Cram “Solus” into your earholes for a bonkers example of how best to lay siege on stringed instruments.

Outside of the unmitigated shredding, those gang-shouted vocals (courtesy of the “Warchoir”: vocalist David AB, Phil Tougas, drummer Nicholas Wells, and ex-Neuraxis guitarist Steven Henry) also play an important role throughout the record, cropping up on every song outside of the Bach (not at all Sebastian) cover “Sonata en mi mineur” and “Mort éphémère,” the relatively brief and calming instrumental closer.

“Solus” is also a fine indicator of the overall swiftness and lively temperament pushed throughout Gloire Éternelle . Point of fact, intense energy and positive vibes have always come fairly standard with neoclassical metal, but First Fragment, once again, finds the next level. The Spanish / Flamenco infusions that flecked the debut are fully realized in 2021, most notably on the wonderfully intricate opening title cut, and this clearly adds to the overall bright energy. But it’s the perhaps startling inclusion of slappity-blappity groove bordering on funk that sends the buoyancy into the stratosphere here. This new element pops up all over the record—sometimes in very quick slaps amidst hyper-blasted hostility, and in the case of one of the record’s most fascinating trips, “La veuve et le martyr” (“The Widow and the Martyr”), it takes center stage before sprinting off like a cheetah on a meth run.

Gloire Éternelle by First Fragment

To be clear, the record isn’t completely frantic 100% of the time. Some stretches remain devoted to a sweeping spirit where the listener is lifted and the guitar and bass battles come across more like eagles banging mid-flight. “Pantheum,” for example, which kicks off with a quick fretboard assault mighty enough to pitch Yngwie’s tent for a week before a gang-shouted ”hot potato” (do…do they shout “hot potato?”) pushes the song into full swing and eventually into a wonderfully sweeping and epic spell right around the 2-minute mark.

Honestly, there is so much going on from one song to the next here that the full Gloire Éternelle journey can and almost certainly will be completely overwhelming during initial passthroughs. A little persistence and an attentive ear will reap a wealth of rewards, though, and high points will soon follow. Outside of the wonderful “La veuve et le martyr,” be prepared to have your head launched directly into the sun by the proggy sorcery of “Soif brûlante” (“Burning Thirst”), which features the most unhinged drumming (courtesy of Nicholas Wells) found on the record, as well as the toughest riff just before its 4-minute mark. And what more can possibly be said about a pant-exploding 19-minute song on a record such as this other than, “the notes go really fast, the members really know how to play their instruments, and there is some really fine Flamenco and neoclassical in the house.”

The whole damned thing is a triumph, really, but it also indulges an extremely niche off-shoot largely reserved for those with a neurotic love of noodling and an interminably adventurous appetite for proficiency, and even a portion of those folks tend to get fussy about brutal vocals. That’s precisely what makes a record like Gloire Éternelle so unique, though, and one cannot stress enough just how well balanced the prowess is here; each player flexes Bugs Bunny as Leopold -levels of musical expertise. If these sorts of things generally equate to a bonafide windfall for you, and if your brain has been known to crave upwards of 45,609,846,098,456 notes in a single 1 hour and 12 minute journey, you just stumbled on your next ticket to Shredder Shangri-la.

• Category: Reviews
• Tag: First Fragment , Neoclassical , Shred , Technical , Traditional , Unique Leader

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Posted by captain.

Last Rites Co-Owner; Senior Editor; That was my skull!

Super funny! Nailed a lot of my feelings. Made me guffaw at least 3x. Haha. Thanks!

Hey, thanks for reading and laughing! I love it when an album is fun enough to inspire listeners, readers and writers to grin from ear-to-ear.

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First Fragment – Gloire Éternelle Review

It won’t take much listening for Gloire Éternelle to spread that grin to you. Tougas’ troupe are world-class players and rarely miss a chance to remind you of the fact. Traded-off solos abound while Tougas, Nick Miller and tech-bass legend Dominic Lapointe chase each other through “Pantheum” and “Gloire Éternelle,” and when they’re not speeding through neoclassical shred, the band are dancing through a cut-time “swing-down,” something between a breakdown and a dance number. These asides are played with the same glee as the band’s flashiest fretwork and allow Lapointe to swerve hard into slap bass, peppering the mix with pops and slides. In “Soif Brûlante,” he’s given the reins for the first two and a half minutes, and it’s some of the album’s most enjoyable material, especially notable as one of the few times the band cut the pace for more than a short interval.

Like these swing stops, First Fragment ’s flamenco-inspired detours are a brilliant way for the band to avoid shred overload and often become the highlight of songs. “Sonata en Mi Mineur” pairs a particularly lovely one with an Eddie Van Halen-tribute intro and then fades into the buoyant singing of warblers and hammering of woodpeckers in the late-Spring forest. The “Gloire Éternelle” opening, with its sly melody and hand-clap percussion, is one of the record’s most memorable and rewarding passages. Ditto “La Veuve et Le Martyr,” which smacks a flamenco and slap-bass intro together for maximum charm. These asides help the superhuman performances surrounding them project a real magnetism and nonchalance that makes G loire Éternelle a cheerful and inviting record despite its intensity.

Listeners familiar with First Fragment ’s debut record are likely to suspect that the Éternelle in G loire Éternelle refers to the record’s length. And they’d be correct, because sitting at 71 minutes—that’s more than two Reign in Blood s 1 — G loire Éternelle is a whopper, and one which doesn’t entirely justify its runtime. “In’el” is a particular drain, nineteen minutes that only serve to recap what came before despite some very strong performances. The closer “Mort Éphémère” does the same but more directly, reprising the record’s opening theme in a move that still fails to really tie a record like this together. There’s simply too much stuffed into G loire Éternelle for the record to come across as a considered whole, and while it’s perfectly fun as it runs, I usually feel like I’ve had enough of the record long before “In’el” gets a quarter of the way through.

That excess is the reason I can’t love Gloire Éternelle. It’s not the length of the record itself that gets me, but the repetition that the length requires. Gloire Éternelle depends on solos and sheer technical feats to propel itself forward, and after the musicians seemingly give their all so many times, the record loses its shape, sagging under the weight of the players’ muscle memory. Even many listens in, I’m often unable to pinpoint where in the record a certain flurry of triplets comes from, or name a particularly effective solo on the record. Despite being nonstop fun, Gloire Éternelle , like Dasein before it, is too generous with its charms to make them last, cheapening them through so much reproduction. That being said, it still fuckin’ rules. The whole point of the record is to be too much, a feast impossible to finish, with ever more indulgent dishes arriving on the table. That the record is too much to enjoy in a sitting is just more proof that Tougas and the gang know what they’re doing. So shred on, First Fragment ; I hope you never change.

Score: 3.5/5.0 DR: 9 | Format Reviewed: 256 kbps mp3 Label: Unique Leader Records Websites: firstfragment.bandcamp.com | facebook.com/firstfragment Releases Worldwide: October 29th, 2021

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Songs played by tour: Gloire Éternelle Canada Fall Tour 2022

This table lists how often a song was performed by First Fragment during the tour "Gloire Éternelle Canada Fall Tour 2022". Multiple performances from the same setlist are also counted towards the total.

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Past Events

Here are the most recent UK tour dates we had listed for First Fragment. Were you there?

February 2019

• Fri 8 Feb London, O2 Academy Islington Obscura, Fallujah, Allegaeon, First Fragment, Divulium
• Fri 8 Feb London, The Underworld Obscura, Fallujah, Allegaeon, First Fragment, Divulium
• Thu 7 Feb Manchester, Rebellion Obscura, Fallujah, Allegaeon, First Fragment
• Wed 6 Feb Glasgow, Cat House Obscura, Fallujah, Allegaeon, First Fragment
• Mon 4 Feb Bristol, The Fleece Obscura, Fallujah, Allegaeon, First Fragment

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Nadal falls to Nuno Borges in Nordea Open final, his first since 2022 French Open

Portugal’s Nuno Borges, left, hugs Spain’s Rafael Nadal, right, after winning the singles final of the Nordea Open tennis tournament in Bastad, Sweden, Sunday, July 21, 2024. (Bjoern Larsson Rosvall/TT News Agency via AP)

Portugal’s Nuno Borges kisses the trophy after winning the singles final of the Nordea Open tennis tournament against Spain’s Rafael Nadal in Bastad, Sweden, Sunday, July 21, 2024. (Bjoern Larsson Rosvall/TT News Agency via AP)

Portugal’s Nuno Borges celebrates winning the singles final of the Nordea Open tennis tournament against Spain’s Rafael Nadal in Bastad, Sweden, Sunday, July 21, 2024. (Bjoern Larsson Rosvall/TT News Agency via AP)

Spain’s Rafael Nadal returns the ball to Portugal’s Nuno Borges during the singles final of the Nordea Open tennis tournament in Bastad, Sweden, Sunday, July 21, 2024. (Bjoern Larsson Rosvall/TT News Agency via AP)

Spain’s Rafael Nadal serves the ball to Portugal’s Nuno Borges during the singles final of the Nordea Open tennis tournament in Bastad, Sweden, Sunday, July 21, 2024. (Bjoern Larsson Rosvall/TT News Agency via AP)

Portugal’s Nuno Borges returns the ball to Spain’s Rafael Nadal during the singles final of the Nordea Open tennis tournament in Bastad, Sweden, Sunday, July 21, 2024. (Bjoern Larsson Rosvall/TT News Agency via AP)

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BASTAD, Sweden (AP) — Rafael Nadal’s winning run at the clay-court Nordea Open ended Sunday when the Spaniard was beaten by Nuno Borges 6-3, 6-2 in the final on Sunday.

The seventh-seeded Portuguese player broke the Nadal serve five times on his way to a first ATP tour victory. It was Nadal’s first final since the 2022 French Open.

“It’s crazy, in tennis it doesn’t happen when you expect it sometimes,” said Borges. “I know we all wanted Rafa to win, a part of me wished that too, but something even bigger inside of me really pushed through today.”

Nadal was playing at the tournament in Sweden for the first time since he won the title as a 19-year-old in 2005 as he prepares for the Olympic tournament on clay at Roland Garros in Paris.

The 38-year-old Nadal skipped Wimbledon as he didn’t want to switch surface to grass and then back to clay and risk injury. He has been dealing with hip and abdominal injuries over the past 1 1/2 years. ___

AP tennis: https://apnews.com/hub/tennis

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Nadal falls to Nuno Borges in Nordea Open final, his first since 2022 French Open

Rafael Nadal’s winning run at the clay-court Nordea Open has ended

BASTAD, Sweden — Rafael Nadal’s winning run at the clay-court Nordea Open ended Sunday when the Spaniard was beaten by Nuno Borges 6-3, 6-2 in the final on Sunday.

The seventh-seeded Portuguese player broke the Nadal serve five times on his way to a first ATP tour victory. It was Nadal’s first final since the 2022 French Open.

“It’s crazy, in tennis it doesn’t happen when you expect it sometimes,” said Borges. “I know we all wanted Rafa to win, a part of me wished that too, but something even bigger inside of me really pushed through today.”

Nadal was playing at the tournament in Sweden for the first time since he won the title as a 19-year-old in 2005 as he prepares for the Olympic tournament on clay at Roland Garros in Paris.

The 38-year-old Nadal skipped Wimbledon as he didn’t want to switch surface to grass and then back to clay and risk injury. He has been dealing with hip and abdominal injuries over the past 1 1/2 years. ___

AP tennis: https://apnews.com/hub/tennis