Folk is doubtlessly one of the most versatile and fusion-friendly genres in music, and this characteristic adaptability is what has granted its survival throughout generations. "Madeline Effect", the second studio album by the German CRYPTEX is another solid intermingling of folk and a myriad of relatively modern music waves employing a wide range of instruments from basic jazz elements to a unique ethnic touch into the perfect blend.

Primary folk yet infused with various tastes, rhythmic are absolutely the main axis of the "Madeleine Effect", particularly with such a freaking impressive and medley of scales bestowing a very distinctive and elaborate mood on the melodies interpreted by the soft yet ferocious vocals of Simon Moskon, performing with humble vanity and a genuine full presence along the whole tracks, thus "Madeleine Effect" can also come up as a vocal album as well as it being "that" special kind of experimental fusion that you can't feel the fine line between it and mainstream folk rock. Call it a symphony, performed by an army of modern instruments.

A set of twelve tracks passing like a breeze in which both vocal and instrumental sides are intensively cultivated - as mentioned above - efficiently back-boned by a duo of piano chords or arpeggios and simple and heart thumping bass licks in some sort of jazzy atmosphere. While we observe how guitar can't always be the main provider, lead guitar fills added an extra dimension such as in "Ribbon Tied Swing" not only evoking swing but also a certain John Lee Hooker taste with a Hammond organ like sound. As a matter of fact, "Madeleine Effect" swirls in a fifty-minute promenade from soft to hard to both at once, from the wah-wah mini solo and pizzicato in "When The Flood Begins" or the traditional air coupled with the jazz guitar effect and the ethnic percussion in "Stroking Leather" before melting different eras together in "New York Foxy" where a funky brass section meets leopard textured keyboards, lyrics and backing vocals screaming glam, for backing vocals on this album have tremendously shaped the course of each track, pop-oriented in "When The Flood Begins" or better experimenting with gospel in the peace and love ballad of "Anthem Of Glory" which has also exhibited the singer's so far hidden ability to sing actual rock.

Despite the ballade-like prevailing impression, what "Madeleine Effect" puts in is much more worth than that: It has indeed extensively explored a multi-purpose rhythm section, featuring funky palm mutes on acoustic guitar and bass, a RHCP styled bass in "Orange Blossom City Girl" of which the drumming turns the tables around from the usual smoothness to the heavy progressive component - more evident on some tracks than on other ones - also manifesting in the tempo and signature twist towards the end of "Madame De Salm", and perhaps most evident in the tension then release of "Melvins Coolercoup", craftily built around melodies bringing to my mind a distant sweet memory of  "Bohemian Rhapsody".

As mentioned above, the whole album comes into view as one long ballad-like trip divided into different chapters, but "Release My Body" is what fits that description best. Coming off as a power ballad, with omnipresent bass and lead guitar fills, I firmly believe most of the other tracks brought in more to the table. Still, it may be the radio- oriented style or the political correctness of this track is what makes it eligible to the band to recommend it as a listening highlight.

All in all, while it's not about a feature checklist, the perfect cocktail's components are present and mixed to the best proportions. There are roots, there is innovation. There is -above all - the universal language of music performed by such beautiful souls. As a roots avid, I highly recommend this album which will definitely cuddle metal-bred ears as well.