Fonya - Perfect Cosmological Principle

“A wonderful and at times suitable sci-fi journey of musical diversity. The guitar/keyboard playing is a delightful experience and guaranteed to please anyone who admires other soloists like Kitaro or Jean Michel Jarre for example. The textured layers of Chris Fournier’s Fonya sound is ideal for relaxing or meditating to. I am reminded on Mare Nectaris that Chris Fournier floats close to Tony Bank’s A Curious Feeling type keyboard playing. Compression also gives me the impression that Fonya sounds a little like Eloy or Yes at times. Therefore, not exactly a copy of one style of playing, more a case of large pieces of musical arrangements that tingle the senses in a certain way (was that a section of Camel’s Moonmadness I just heard?)” [Audion]

“I’d been dying to hear something new from Chris Fournier since I heard one of the early Kinesis samplers. Happily, PCP delivers on that initial impression. Chris is a prime example of the do-it-yourself progressive artist in that he handles every aspect of performance, engineering, and production and he succeeds better than many others treading this road... I might imagine that this is what Yes would have sounded like if Vangelis had joined in ’74 instead of Patrick Moraz (with no vocals)... A dash of Mike Oldfield can also be heard in the handling of some of the broader themes and passages. Generally, the songs on PCP tread a consistently spacey-prog rock territory though there is enough variety in dynamics and energy to keep things interesting throughout. Two thumbs way up!” [Exposé (Paul Hightower)]

“Chris Fournier (Fonya) returns, following the magnificent Earth Shaper. The new album, his fifth, is titled Perfect Cosmological Principle. It’s an album that doesn’t surprise us because the music of this guy is already a continuous surprise. Here again is his personal style, masterfully combining the vigorous essence of progressive rock with the hypnotic quality of electronic music. His wonderful bass lines complement the dense harmonic textures, where each instrument fits comfortably, from the increasingly prominent guitar solos to the perfect use of MIDI percussion. Highly recommended.” [Margen (translated from Spanish)]

“There’s an agreeable upbeat buzz to multi-instrumentalist Chris Fournier’s music, a quality that remains true on this, his fifth album for Kinesis... Fournier’s sense of composition and arrangement improves with each new release, while that abiding sense of wonder and exploration - the hallmark of all good space epics - shines brightly through. The gently propulsive, forward-moving groove distinguishing these lushly orchestrated tracks is eminently seductive. The soaring leads of Fournier’s thickly toned guitar are bolstered by a cosmic jungle of busy synth textures and shifting bass/drum rhythms that lend the work depth and variety... All you need to do is buckle up, blast off, and let Fonya be the navigator.” [Progression]

“Fonya’s latest and perhaps best opus to date... The best definition [of Fonya] is a kind of American Eloy or Ash Ra Temple, with less pomposity and a bit more aggressiveness. Included as the 12th track is a tribute to Yes in the form of a medley taken from The Gates of Delirium. A tribute to Yes, but also proof of Chris Fournier’s talent, since it doesn’t sound artificial - it flows gracefully in the same manner as the other tracks of this album... If you’re into space rock and instrumental prog, you really should discover Fonya.” [Acid Dragon]

“This is Chris’ vision of space, realized on bass, guitar, and sequenced keys. Fonya continues to be lush and natural sounding, with lots of layered keys. The drums (sequenced) stand out for me only because they don’t have that ‘canned’ sound, something Chris has diligently worked on. As usual, Chris’ bass work is exceptional, both in tone and ability. He is one of my favorite bassists and I’ve often wondered what he would sound like playing with other musicians. The keys both fill (washes) and play melody.” [Music Uncovered]

       “[Fonya] uses cutting-edge technology to make some of the best music in the progressive world. Then comes the problem of how to classify what Fonya does? Lots of keyboards and electronic percussion, so it must be e-music. But yet it doesn’t really sound like e-music. Lots of digital keys, neo something or other. Naw, doesn’t sound like neo-prog nor neo-psych. Well it’s some sort of progressive music, I just haven’t been able to figure out what type... Over the last five years, Chris Fournier has released some of the best electronic-based progressive rock the world hasn’t heard. Chris is one of those rare artists whose work just keeps getting better and better. While staying within the same realm of music, his work becomes more rich and demanding with each new release... Using layer upon layer of instruments, [Fonya] creates an intriguing tapestry of sounds... There is always something new to listen to every time you play a Fonya CD. And as always, the bedrock of the Fonya sound is his unique bass playing... Suffice it to say that all the tracks are brilliant. Chris always finds new and interesting sounds to use in his songs. The bells he uses on Compression are a great example. Chris also uses slow/fast tempo to great effect, starting many pieces slow, then building them to monumental proportions... Best tracks on the CD: Flash Spectrum and the PCP suite. They show Chris at what he does best. PCP might be the best track Chris has laid down yet. Great drum parts, a nice bass/key part in which they play off of each other. The slow/fast thing that he does so well. He winds it down and then hits you again with the full sound. Some cool Kitaro-like moments with water samples. Just a great track. If I was going to introduce someone to Fonya, this would be the track. In a nut shell (or 20 minutes), it’s everything that Fonya has been working towards for the last five years. And yes, the last track is Chris’ interpretation of parts of Yes’ Gates of Delirium...   If you like Chris’ tribute to Genesis on In Flux, you’ll love this piece... To sum up what I’ve been ranting about: BUY THIS CD! It is one of 1997’s best CDs. Fonya is one of the great American artists working in the field of electronic prog today. Chris is not interested in rehashing old sounds, but in creating new ones. Make this man rich so he can quit his job to create music full time. Imagine what he could achieve then!” [Gibraltar (Ken Brown)]

“...I wouldn’t call Fonya’s music space-rock. It’s more symphonic progressive along the lines of Jeremy and other orchestral prog bands. However, his music has that magical quality that makes this mind-expanding enough to be of interest to Aural Innovations readers. The all-instrumental music is keyboard-dominated, but there are loads of electric and acoustic guitars that serve to embellish the songs with soaring Hackett-influenced licks guaranteed to carry you away on a cloud. Synthesized flutes add to the classic progressive feel, and the fullness of the sound makes this an impressive work for one musician. Images of medieval times are conjured up and if you close your eyes you’ll get that feeling of elation that the ‘pompous’ and ‘bombastic’ heavies of the 70s served up so well... Recommended to sympho-proggers and spacers who like less-than-heavy space music.” [Aural Innovations]

“Reminiscent at times of Camel, the overall sound is more rocky, as there is genuine interplay between the guitars and the keyboards. It definitely sounds like a band at work, not just one man. There is a very symphonic feel to proceedings, and at times there is almost a wall of sound with an instrument such as bass guitar pitched against it to great effect... If you enjoy good symphonic music then you will love this.” [Feedback]

“It’s amazing what this guy can do by himself and how human he makes all the programming sound.” [Exposé (Mike McLatchey)]