Chronazura is a Progressive Music project born from the mind of French composer and multi-instrumentalist Emeric Grangette. With its ambitious debut album, “The Time Fusion,” Chronazura delves into a conceptual and philosophical journey through time, guided by three divine entities representing the past, present, and future. Through rich orchestrations, shifting soundscapes, and a powerful blend of Progressive Rock and Metal, the album unfolds like a theatrical odyssey. We had the pleasure of speaking with Emeric to uncover the ideas, processes, and inspirations behind this captivating work.
Let’s start from the beginning: how did the Chronazura project come to life, and what inspired you to explore the concept of time through music?
The project started at the end of 2020. I was working on another musical project when I composed what would become Act I. It was instantly clear to me that this track opened the door to something much more ambitious. As a fan of progressive rock and metal, I thought this was my chance to create my own concept album. From the start, I knew I wanted to have multiple singers – three felt just right, neither too few nor too many. Around this time, I came across a painting of a clock in a vast hall, and suddenly, everything clicked. My 3 singers would represent the past, present
and future. From there, the story and atmosphere of the album flowed very naturally.
The album tells the story of three gods, each representing a temporal dimension. What led you to create this narrative, and what philosophical or symbolic meanings do these deities embody?
Initially, I wanted to explore man’s relationship with time : Why we always chase the future and rarely live in the present. But so much happened in the world in the early 2020s: war, epidemics… Little by little, the album came to reflect our reactions to these events. We keep repeating the same mistakes, as if the past no longer matters. That’s the album’s dramatic pivot.The fusion of time begins when the goddess of the past is pushed aside – a metaphor for our era. This theme is especially strong in Act III: The Origin. The songs also contain symbolic layers. For example, Act II can be
interpreted as a man choosing between his wife and his mistress – just as the present must choose between holding on to the past or pursuing the future.
“The Time Fusion” is divided into four acts, framed by two instrumental tracks. Could you guide us through the structure and how each piece contributes to the overarching story?
The opening and closing tracks exist to establish the story and mood of the album. I wanted to avoid too much narration between or during the songs so that the music could be continuous. I have come across progressive rock albums where I felt the musical flow was broken because of the narration. Still, some narrative clarity was needed in my album.
Act I is the encounter of the 3 gods.I t’s a powerful opening where each singer gets space – a grand entrance into the album’s universe. The next three acts are focused on each god.
Act II focuses on the present, who must choose between past and future. He ultimately chooses the future.
Act III then follows the past, who feels rejected. She ultimately discovers that this anger is familiar—she’s been here before—and comes to understand that she may have triggered the fusion of time.
Finally, Act IV centres on the Future, who tries to prevent the temporal cycle from repeating, as it has countless times before, always ending in the same way.
The final spoken piece, Like a Memory, explains why they all failed. The album is meant to be cyclical; its ending connects back to the beginning.
How did the writing and composition process unfold? Was the narrative conceived first, or did the music lead the way?
For me, the music always leads the way. I strive for a balanced musical journey, even if that means adapting the narrative structure. I also made sure each act sounded distinct. When I compose an act, I write both the instrumentations and the vocal lines. I already have a precise idea of how the singers are going to respond to each
other, and the emotions they are going to express. I try to remain consistent with their temperament throughout the album. Then, Maria Kheyfets and I write the lyrics. She has helped me significantly when it came to adding depth and deepening emotional impact. We refine both lyrics and vocal lines up until the final stages.
You worked with several international musicians and vocalists. How did you select your collaborators, and how did their contributions influence the final result?
Some I had worked with before, while others were intentionally new. I’ve been very lucky, because the collaborations worked really well with most of the contacts I already had. I had more difficulty finding the 3 singers who worked well together, but I’m really glad I found them, and they were incredible. My goal was always cohesion, but I couldn’t have done this with artists I didn’t connect with personally. Their talent and attitude helped me give my best.
I also wanted to give the artists room to express themselves. Even though they were provided a demo and precise instructions, I let them contribute their own mark. Some of them even had a free hand. For example, I felt that my bass lines lacked depth, so I let Hubi the bassist, create what he felt was right.. And Jeremy, the cellist, wrote and mixed his own parts. I wanted this to feel like a true collaboration, not a top-down directive. This represents me best.
There is a remarkable variety of instrumentation throughout the album—cello, flute, layered vocals, and heavy guitar sections. How did you balance the orchestral and metal elements within the progressive framework?
I focused on creating contrast: heavy guitar passages followed by melodic, orchestral moments to build atmosphere. There are a lot of lyrics on the album, but I also wanted to tell the story through instrumental passages. The balance emerged naturally, shaped by the emotional and narrative arcs.
What were the biggest technical or artistic challenges in bringing “The Time Fusion” to life, especially as an independent production?
Time! It’s ironic, isn’t it? The hardest part was managing the time: composing when inspiration struck, taking breaks when needed, and scheduling recordings around performers’ availability. Also, coordinating so many contributors and maintaining a coherent vision throughout was a huge challenge.
Which bands or composers have most influenced your musical vision—both in terms of sound and conceptual ambition?
Ayreon was without a doubt my biggest influence. But I was also inspired by the work of Cosmograf and Steven Wilson. There were some more metal influences like Edguy, and some more surprising influences, such as the soundtrack of the movie Deep Blue Sea. Another musician who really inspired me was Jean Michel Jarre with his album “Chronologie”. Conceptually, the 70s prog rock albums—Pink Floyd, Yes—were foundational. And the four-act structure of Ayreon’s The Theory of Everything definitely shaped my thinking.
There’s a strong cinematic and theatrical dimension to this work. Were there any influences from outside the music world, such as literature, cinema, or philosophy?
The music world remains my main influence, but I think video games have also contributed. Some of their soundtracks have really made an impression on me. I wanted to take inspiration from the epic nature of certain
productions. I am referring to games like Final Fantasy, Mass Effect, Metal Gear Solid, and Songs of Conquest, which is less known but quite powerful.
How do you envision the experience of this album for the listener? Should it be approached as a concept to be absorbed in one sitting?
Absolutely. It’s designed for immersive listening, ideally in one go and in the order of the acts. The album is even structured with vinyl in mind. You can, of course, space it out over a few days, but always in order.
As mentioned, the looping narrative reinforces the cyclical concept of time.
Do you have plans to bring Chronazura to the stage? How would you translate such a layered and collaborative project into a live format?
That would be incredible, but challenging to execute. The musicians who performed on the album have other musical projects and are geographically dispersed. One approach would be to try a live stream. That would be exciting, but it’s
something for the future – if it happens at all.
The album was released in May 2025—what’s next for Chronazura? Are you already thinking about new material or exploring other thematic paths?
Right now, I’m taking some time off to recharge and invite inspiration back. At the moment I’m working restoring an old musical project, but in a very different genre. When the time is right, I’d like to realise a fifth act for The Time Fusion – around 20 minutes long with many variations. It would be like Part II. I already have some ideas, and it might come sooner than expected.
Thank you for your time, Emeric. Would you like to leave a final message for our readers?
I’d just like to say a big thank you to everyone who has taken the time to explore Chronazura. Creating this album was an incredible experience. Knowing people are listening and enjoying it is another powerful moment for me.
We sincerely thank Emeric for taking the time to delve into the world of Chronazura and share the creative depths behind “The Time Fusion.” We invite our readers to explore the album and support the project through his pages linked below.
Purchase “The Time Fusion” on Bandcamp: https://chronazura.bandcamp.com/album/the-time-fusion