Jazz Archives

1. Chirato (6:50)

Side A

After having taken part in CHUTE LIBRE (Jazz-rock band led by Mino CINELU), Benoît WIDEMANN has been involved in MAGMA as its keyboards player from 1975 to 1978, noticeably recording the great "Hhaï Live". "Stress !" (1977) is the name of his first solo album: the music is obviously dominated by keyboards, their sonorities and colours. Using a large sample of them (Synthesisers, Mini-Moog, Fender Rhodes, string section, clavinet, etc.), he performs dreamy, picturesque, impressionist compositions full of sensibility and elegance. They call for nostalgic, happy and very visual climates sounding like soundtracks and sometimes evoking François BREANT's works. For the occasion, he hired some of the best French musicians from the Progressive jazz-rock and Zeuhl music scenes: Guy DELACROIX (MAGMA), Clément BAILLY (MAGMA, NEMO and TRYPTIQUE), Patrice TISON (KAPAK), Patrick GAUTHIER (WEIDORJE, VOLKOR andt HELDON), Jean-Pierre FOUQUEY (MAGMA)... This album displays a series of emotional snapshots or picturesque and imaginary trips. On "Tsunami" (1979), Benoît WIDEMANN is at the head of a real group and performs a suggestive, impressionistic and dreamy music with some complex parts and rhythms (Powered by André CECCARELLI's brother Jean-Paul, drummer as well !). His picturesque and colourful style could evoke a more European WEATHER REPORT. To be rediscovered !

::: Editorial Reviews:::

Benoit Widemann - Stress! (1988)

1. Baleze 3:25

2. Herbes Sol 6:50

3. Stress ! 1:56

4. Le Camp Du Drap D'or 4:03

5. Demi - Final 1:22

6. Qua Ternaire 5:53

7. Spirale 4:32

8. Féte Au Septieme Plan - Sacrifce 5:04

9. Final - Part One 2:44

10. Final - Part Two 2:18

Credits

Benoît Widemann: Acoustic Piano, Fender  Piano, Moog and Oberheim Synthesizers

Clément Bailly: Drums, Percussions, Timpani

Guy Delacroix: Bass

Patrick Gauthier: Minimoog

Jean-Pierre Fouquey: Oberheim Polyphonic Synthesizer

The second Zao album was recorded without the distinctive vocals of Mauricia Platon and marks the band's shift from Zeuhl with a touch of jazz fusion to jazz fusion with a touch of Zeuhl. The net effect is a fine album that is both more accessible than their debut but also less distinctive, often sounding like generic European jazz rock that could have emanated from any number of fusion bands.

Aside from a shift to mainly instrumental pieces, the music generally settled into a comfortable groove where Fender Rhodes, bass and drums laid down a solid backing for the sax and violin to solo over, as opposed to the complex interplay of vocal, violin and sax on Z=7L. As the sax was in the hands of Yoch'ko Seffer this wasn't necessarily a bad thing, and Jean-Yves Rigaud was no slouch on the electric violin, so there are some stunning moments here and there. The rhythm section is occasionally bolstered with additional percussion and there are some Zeuhl influenced wordless vocals from Seffer and bassist Joel Dugrenot on a couple of tracks including the opening Shardaz. The stand out is Isis, which opens with some lovely ethnic percussion and flute before a smoky midtempo minor key groove kicks in and Seffer's gypsy soul shines through his solo, followed by Rigaud playing his electric violin through a variety of effects pedal before the whole thing ends as it began after almost 10 minutes. The CD reissue contains another extended work out in Montreal, which features some complex congas alongside the bass and drums and is almost the equal of Isis.

3.5 stars for the original version, with an extra half star for the reissue with Montreal. As other reviewers have pointed out, this is closer to Weather Report than Magma, but when the ethnic influences are added to the jazz fusion it turns into a potent brew indeed. Fusion fans will love it, Zeuhl heads may be a little disappointed.

:::Review by Syzygy:::

Zao - Osiris (1974)

1. Shardaz (4:48)

2. Isis (9:32)

3. Reinna (4:23)

4. Yog (8:05)

5. La Rhune (4:08)

Bonus on Musea CD

6. Montreal (11:44)

Credits

- Francois "Faton" Cahen / keyboards

- Joel "DUD" Dugrenot / bass, vocals

- Yochk'o Seffer / saxes, vocals

- Jean-My Truong / drums, percussion

- Jean-Yves Rigaud / electric violin

- Marc Chantereau / percussion

- Pierre "TY BOUM" Guignon / percussion

The black horse symbolized famine in the Book of Revelations. In the end-of-times scenario depicted there, luxuries continued to pour on to the rich while common people struggled to eat and stay alive. Apocalyptic metaphors seem more timely than ever these days, when the disenfranchised are occupying Wall Street and protesting unjust financial regimes worldwide - even as the distinction between presidential debates and reality TV grows ever more difficult to discern. That sense of urgency and hunger is audible on every track of GA'ANs new studio album Black Equus. This masterpiece summons the four horsemen of the Apocalypse from the dark side as harbingers of righteous Judgment. Seth Sher's violent attack on the drum kit makes it sound like the earth is fixing to split apart, while Lindsay Powell's angelic voice, floating above these dark and roiling grooves (provided by Tyson Torstensen), shines a transcendent beacon over the heaving aural mire. Chicago's GA'AN and Captcha Records present Black Equus, a fitting soundtrack for these dark days.

:::Review by boomkat:::

Ga'an - Black Equus (2011)

1. Arms They Speak (9:54)

2. Servant Eye (8:35)

3. Call Of The Black Equus (18:44)

Credits

- Lindsay Powell / voices, electric piano, synthesizer

- Seth Sher / drums

- Tyson Torstensen / synthesizers, bass, synth bass, electric piano

This three way collaboration is a real manic attack on the sensors, yet it also has great moments of alien beauty too. The album mixers deranged guitar runs, seemingly impossible and space funked bass patterns, complex and battering percussion, and the odd shot of demented vocal attacks too.

The 11 tracks with-in bring together one part Acid Mothers Temple with Kawabata Makoto on guitar and the duo of Sekkutsu Jean which consists of Tatsuya Yoshida (Ruins,PainKiller,ect) handling drums/vocals and Kenji Sato on bass and vocals. And I guess the best way to try and describe it is a collision between funk rock, avant rock, jazz and rock elements but all forced at you in a manic and deranged manner. But there are also moments of great atmosphere and strange beauty appearing here and there through out the album too; take the emotional bass runs meets spacey guitar uttering with strange nonsense operatic alien vocal  batter of track sixVokkoshmmra.

All parties concerned play with great passion, flare and musically precision with Kawabata's guitar work been fiery yet focused, Yoshida drumming been manic & complex, but for me the star of the show is Kenji Sato who performs mind bending feats with his bass going from; derange and virtuoso, to harmonic and atmospheric, to funky and brain bending.A great on the edge of your seat ride through out with these three showing playfulness, sonic overload & atmosphere. Really Breathtaking and invigorating stuff.

:::Review by Roger Barry:::

Sekkutsu Jean and Kawabata Makoto (2008)

1. Hudiedfhieo

2. Kseouidhocchs

3. Werghsukaxgh

4. Paffughekko

5. Zkollthawghrat

6. Vokkoshemmra

7. Moqchximmbrra

8. Aathychximmbrra

9. Turrinmbhakki

10. Gaschimmrangd

11. Jombhssquiram

12. Fapzudasskam

Credits

- Makoto Kawabata / guitars, voices

- Kenji Sato / bass, voices

- Tatsuya Yoshida / drums, percussion, voices

Notes

Recorded live at EARTHDOM (Tokyo 23rd October 2007), HELLUVA LOUNGE (Kobe 5th October 2007). 

For fans of Acid Mothers Temple, Ruins, Musica Transonic, Buckethead and Primus!

SEKKUTSU JEAN ("stone-cavernous temple" in English) are a Japanese experimental rock duo founded by Tatsuya YOSHIDA (drums, percussion) and Kenji SATO (bass, cello), named after an occasional idea by Tatsuya, a stone freak. Kenji, born in 1963, has been renowned as a bassist of a Japanese indie rock project named Marchosias Vamp, formed in 1984 and disbanded in 1996, and plays as a solo artist and in various project e.g. a rock duo The Manji, a trio Foe, or a cello trio Cotu Cotu. (As for Tatsuya, see Tatsuya YOSHIDA.)

SEKKUTSU JEAN have released their eponymous debut album in 2006 via Tatsuya's own label Magaibutsu Limited, and "Sekkutsu Jean + Kawabata Makoto" in 2008 with the collaboration of Makoto KAWABATA (ex-ACID MOTHERS TEMPLE).

:::Review by progarchives:::

Sekkutsu Jean - Sekkutsu Jean (2006)

1. Ghijuhnkkumn

2. Noimllkogcx

3. Ftohkmofhtt

4. Cxytomookgh

5. Ryhokmundohr

6. Wihytcujmo

7. Isoijuntczi

8. Aubehixyffi

9. Koayebiurjnk

10. Ojbdlssbuyv

11. Xhvfjigtchtu

12. Ehvhenzzhyiu

13. Sjhvficghiloh

14. Gyvoxohokn

15. Qyzoichdbiihm

16. Ziugchduffom

17. Tsjivofkomokji

18. Ascvojnvaijoi

19. Bysjiahvoskkn

Credits

- Kenji Sato / bass, cello, voices

- Tatsuya Yoshida / drums, percussion, keyboards, voices

When the suggestion of Ga'an for inclusion arrived to the ZART team I was very surprised since the first notes.

"Chasmaeon" is opened by two minutes of progressive electronic that's one of my favorite prog subgenres. I wondered about why the band was suggested to Zeuhl but I understood immediately what the reason was just after hearing the operistic voice of Lindsay Powell. So imagine a repetitive hypnotic theme with a Zeuhl flavor very well played with a special mention to the drums. The music is quite melancholic instead of being dark as often happens with Zeuhl bands specially in the second half of the song when the repetitive theme is replaced by the compulsive drumming which accompanies a melancholic melody.

"Living Tribunal" comes as a natural follow-up. The very sad intro is quite symphonic. Even when the drums start playing compulsively I can hear echoes of Gustav Mahler or Albinoni. At least the music transmits the same sense of sadness of Mahler's 3rd symphony. When Lindsay sings her voice is monotonous and repetitive as a mantra. This enhances the listening experience. She sings in the best possible way for this track, a very excellent one. The final crescendo makes it grow even more. The variation is provided by a great bass line until the coda which occupies the last seconds.

"1 Of Infinite Forms" is immediately uptime. This time it's drums and piano which drive. The bass is compulsive and even on this track Lindsay sings hypnotically. The melody is very proggy. In some moments it makes me think also to Renaissance. The tempo is very fast and captivating and the operistic singing provides a fantastic contrast. Another reference? The choristic parts of Atom Heart Mother even more connected to classical symphonic music. There's no solution of continuity between part 1 and part 2 so it can be treated as a single track. The last three minutes make me remind Eloy's Ocean, that's one of my favorite space rock albums. Please note that even with all those references to classic prog this is still Zeuhl.

"Servant Eye" reminds me again to the psychedelic period of Eloy but thanks God with Lindsay as vocalist. There's a great synth work which provides the best possible layer for the performances of drums and bass in the instrumental parts. Try to imagine Frank Bornemann speaking on it with his strong German accent.... The music changes suddenly in the last two minutes as Ga'an wanted remin us that they are making what they call "minimalistic prog-rock". This is another very good track which ends with a vocal crescendo and ends suddenly.

Bass and drums to introduce the keyboards on the closer "Vultures Of The Horn". It's the most Zeuhl track of the album but it contains also other elements. In particular the drumming and the continuos minor chord played by the keyboard in the instrumental interlude have some of the Post Rock of bands like From Monument To Masses, but the vocal parts are always hypnotic. The changes in the theme male it sound like a small suite, a 7 minutes epic. I can't say if it's dark or sad or anything else. It's very dreamy. Have you present when you wake up suddenly in the early morning with still some images and sensations of your last dreams? This is how this track, specially the second part makes me feel.

Other than Zeuhl, people who likes Krautrock, Space Rock and Progressive Electronic will surely like this band and its very excellent debut.

:::Review by octopus-4:::

Ga'an - Ga'an (2009)

1. Chasmaeon (7:01)

2. Living Tribunal (8:12)

3. I Of Infinite Forms Pt. 1 (5:00)

4. I Of Infinite Forms Pt. 2 (6:06)

5. Servant Eye (6:31)

6. Vultures Of The Horn (7:16)

Credits

- Jeremiah Fisher / synthesizers

- Lindsay Powell / voices

- Seth Sher / drums

- Jason Sublette / bass, synthesizer

For 1,001 Degrees Centigrade, Magma underwent several personnel changes: guitarist Claude Engel departed without being replaced, and Alain Charlery and Richard Raux made way for Louis Toesca (trumpet) and Jeff Seffer (sax, bass clarinet). This was the second installment in Magma's Kobaïan saga. With lyrics again performed in the band's invented language, the album chronicles the Kobaïan people's return to Earth to save the planet. Despite that conceptual continuity with the group's self-titled debut, this was a somewhat transitional work in musical terms. It shares the first album's jazz direction but also anticipates Magma's subsequent journey into a genre of its own making, one that owed as much to Carl Orff as it did to rock music. 1,001 Degrees Centigrade's divergent sonic identities are encapsulated in the track distribution on the original vinyl release. Penned by Teddy Lasry (woodwinds) and François Cahen (keyboards) respectively, side two's "'Iss' Lanseï Doïa" and "Ki Ïahl Ö Lïahk" are fairly standard exercises in Soft Machine-style jazz-rock. Apart from some complex instrumental sections and some idiosyncratic Kobaïan vocal stylings, there's nothing especially memorable, and certainly nothing innovative, about these numbers. The record's original side one, given over to the 22-minute Christian Vander composition "Rïah Sahïltaahk," is another story entirely. Again displaying a jazz orientation with its multiple phases, its abruptly changing time signatures, tempos and intensities, as well as its shifting instrumental emphases (horns, woodwind, electric piano), this epic track also breaks new ground for Magma. Although it lacks the fluidity and the truly grand symphonic gravitas of the band's subsequent magnum opus, Mekanïk Destruktïw Kommandöh, it more than hints at that album's strident, martial rhythms and its Carmina Burana-esque choral dimensions. Ultimately, 1,001 Degrees Centigrade is by no means a classic Magma record, but "Rïah Sahïltaahk" stands out as an excellent document of a band approaching its masterpiece.

:::Review by Wilson Neate:::

More info@progarchives

Magma - 1001° Centigrades (1971)

1. Rïah Sahïltaahk (21:45)
2. "Iss" Lanseï Doïa (11:46)
3. Ki Ïahl Ö Lïahk (8:23)

Credits
Christian Vander / vocals, drums, percussion
Klaus Blasquiz / vocals, percussion
François Cahen / acoustic & electric pianos
Francis Moze / bass
Teddy Lasry / clarinet, sax, flute, voice
Jeff Seffer / sax, bass clarinet
Louis Toesca / trumpet

"Toscco" has to be one of the most accomplished masterpieces of today's experimental prog. Coming from Japan, Happy Family delivers an amazing musical vision in which extravagance, agression and dementia combine in a simbiosis solidly founded on the confluence of radical Crimson and a raw version of zheul standards (Dr. Nerve, anyone?). You can also notice similarities with NeBeLNeST and Höyry-Kone, although, unlike the former, the keyboard parts are not as absorbing (not even in the spacier moments), and unlike both, Happy Family tends to put more emphasis on the jazzier side of experimental prog. Regarding this aforesaid factor, you can notice more similarities with Present, but again, Happy Family manages to create a robist world of their own within the confines of their own avant-garde style. "Toscco" gets started with a very languid piece, which is too far from melancholic, it is actually quite sordid in its mistery: the cadence portrayed in ‘The Great Man’ bears a freaky vibe that seems to precede a terrible danger that's on the brink. After this peculiar prelude, comes the manifestation of the general rule: pure expression of overwhelming madness delivered with neurotic intelligence and dynamic complexity. The sonic storm with which ‘Overdrive Locomotive’ is an explosion that marks the theme's inherent tension, a tension that makes its presence palpable even in the least explosive passages: this is what happens when RIO flirts with thrash metal and math-rock. The calculated saturating dirtiness of Myano's bass lines and Izutani's guitar leads create a magnificent triangle with Hagase's intrincate drumming, with Morimoto's keyboards laying harmonies, adonrments and brief solos, all of them cleverly weird. The band creates such a powerful that it seems as if their monster might as well turn against it and possess it. So here comes the next track, ‘Nord Company vs. Lead Company’, which bears less contrast, equal madness and more frenzy. Tha jazzy drive of this zheul example is properly ornamented by Izutani's semi-frippian solos. ‘Filial Piety at the Dawn’ brings some humor with its touches of surf rock and what seems to be ska, augmenting the 80s KC influenced overall ambience. ‘The Sushi Bar’, one of the epics, kicks off with a 3- minute piano bar section, slow, almost romantic albeit dissonant, until things turn dramatically into a Zappa's "Apostrophe"-meets- 90s KC. The multi-sounding keyboards (alternately emulating marimba, organ, spacey tricks and distorted clavinet) proves vital in order to bring some freshness among the overall oppressive feel. A reprise of the opening theme closes down this 11 3/4 minutes of bizarre progressive greatness. ‘He is Coming at Tokyo Station’ is an excercise in deconstructive orchestrations, wicked and funny at the same time - very akin to Dr. Nerve. Retaking shapes and ambiences from tracks 2 and 3, ‘The Picture Book – X Rated’ turns aout to be the ñeast difficult track in the album, catchy in a rare manner (although still relying heavily on weird stuff). The album's second epic is ‘The Three Leaves Insect’, occupying a 12+ span. Starting with an almost post-rock crepuscular atmosphere, things get more playful and explicit from minute 3 onwards. What happens from there is a sort of ecapitulation of the most exciting atmospheres that had already been anticipated in the prior tracks. The Zappa factor remains predominant among the sinister RIO-meets-zheul general trend. The albums is closed down by an acoustic reprise of the first track: it is very serene, an unexpected closure delivered on acoustic guitar and accordion. "Toscco" is quite impressive, a gem for stubborn lovers of avant-garde prog (as well as a nightmare for lovers of more conventional melodic art-rock), and of course, a living proof of zheul genre's ongoing vitality. Happy family are real masters of bizarre progresive rock.

:::Review by Cesar Inca:::

Happy Family – Toscco (1997)

1. The Great Man (3:01)
2. Overdrive Locomotive (6:31)
3. Nord Company Vs. Lead Company (5:19)
4. Filial Piety at the Dawn (4:03)
5. The Sushi Bar (11:42)
6. He Is Coming at Tokyo Station (3:50)
7. The Picture Book - X Rated (6:29)
8. The Three Leaves Insect (12:19)
9. The Great Man (Revisited) (1:25)

Credits
Kenichi Morimoto / keyboards
Tatsuya Myano / bass
Takahiro Izutani / guitar
Keiichi Nagase / drums

James Mac Gaw (Guitar) has something from Fripp in his heart and also bring a personnal touch to developp new tortured harmonies that can't let King crimson fans cold!
Philippe Bussonnet is in my opinion one of the best electric bassist in the world (if not the best). His solos are incredible : he uses a distorsion pedal and many effect, creating an outstanding frippian harmonic war machine.
Emmanuel Borghi brings a Return to forever and h hancock touch to their zheul KC influenced music. Jeand'heur is a quite impressive too an assume is rule of volcanic center of the band and offers some nasty moments too!
The first piece Ewaz vader is already a classic and should be given a try by every prog rock lover. In those difficult times where many soft fusion bands try to make something new and are filed under jazz rock, those guys synthetize jazz-rock and King crimson frippertonicas with an incredible sens of rythm and outstanding improvisation moments!

:::Review by pwawrzyn:::

One Shot - Ewaz Vader (2006)

1. Ewaz vader (10:32)
2. Fat (15.38)
3. I had a dream / part III et IV (14.47)
4. Missing imperator (13.11)

Musicians
- EMMANUEL BORGHI/ keyboards
- PHILIPPE BUSSONNET/ basses
- JAMES MAC GAW/ guitars
- DANIEL JEAND'HEUR/ drums

Les Cycles de Thanatos is a dark-sounding album integrating rock, jazz, and neo-classical elements. Probably the most dominant feature on the album is the dark brooding neo-classical rock, sounding not unlike Univers Zero or Art Zoyd. In addition, there are Zeuhl-ish jazz rock passages that remind me of Zao, Moving Gelatine Plates, instrumental Zappa, and Potemkine. An excellent album of typical French avant-garde/underground music.

:::Review by Sjef Oellers:::

Vortex - Les Cycles De Thanatos (1979)

1. God Is Good For You, John (4:28)
2. Prolegomenes (11:43)
3. Les Cycles De Thanatos (25:16)
4. Hipopotalamus Negrus (bonus track) (5:41)
5. Ivanoe (bonus track) (4:34)

Credits
- Jean Pierre Vivante / fender rhodes, yamaha organ, piano
- Jacques Vivante / bass
- Gérard Jolivet / saxophone
- Christian Boissel / fender rhodes, hautbois, English horn
- Jacques Guillot / saxophone
- Jean-Michel Belaich / drums
- Alain Chaleard / percussions
- Maurice Sonjon / percussions

Guests

Sunny James / violin (1)
Michel Boissel / bassoon (3)

"4 Visions" is another masterpiece from the French scene. But this band doesn't play theatrical prog. Rather, ESKATON were influenced by Zeuhl inventors, MAGMA. For those of you unfamiliar with Magma's sound, their music combined Wagner-esque grandeur with Eastern European rhythms and melodies, Germanic-like chanting (keep in mind that MAGMA sang in a made-up language), and almost ritual-like repetition (slowly building grooves to a frenzy). Unlike MAGMA, ESKATON emphasized quick and furious theme development, and less repetition. They also sang in French rather than Kobaian. ESKATON consisted of a guitarist, bassist, keyboardist, drummer, and two female singers. The most impressive musicians in this band is the bassist. He is a monster on the instrument, and effortlessly spits out grooves that are fast, funky, and absolutely danceable (some part of your body will move to his grooves). The reissued CD consists of the 4 original tracks, and a bonus track. "4 Visions" is one of the top Zeuhl albums out there.

:::Review by Steve Hegede:::

Eskaton - 4 Visions (1979)

1. Eskaton (10:24)
2. Attente (10:12)
3. Ecoute (13:00)
4. Pitié (8:44)
5. Le Cri (9:05)

Musicians
- André Bernardi / bass
- Gérard Konig / drums
- Alain Blésing / guitar
- Gilles Rozenberg / organ, synthesizer
- Eric Guillaume / Fender piano
- Marc Rozenberg / Fender piano
- Paule Kleynnaert / voice
- Amara Tahir / voice

Zeuhl is often perceived as a genre closely aligned with rock in opposition, and the avant-garde scene in general. True enough, a hefty portion of Magma's catalog is very inaccessible and bizarre, and most Japanese zeuhl groups are noisy and outwardly flamboyant. However, there were a number of bands in the Zeuhl genre to weave symphonic, jazzy, melodic, and, simply: more accessible elements into this style. Univeria Zekt was the first attempt to draw more listeners to Zeuhl, which was indeed merely an alternate version of an early Magma, with more a straight-forward rock and pop sound combined with upbeat jazz. Zao were the first band, besides Univeria Zekt, to also make this brand of catchy-zeuhl, adopting a very heavy dose of jazz, comparable even to later Maneige. Then came Eskaton in 1979, with their stellar debut, 4 Visions. Now, in 1980, after Magma had already passed through their prime, Vander had turned his focus to his other project: Offering.
Offering is essentially Vander's expressing of jazz, as well as his environment to be a full-time front-man. Since he didn't often drum in Offering, but rather sang, drummer Michel LeBards was employed to take his place at the throne. Michel also wanted to compose music, and have his own group, and thus formed Eider Stellaire. It follows the melodic and symphonic Zeuhl direction of Eskaton, with vocal work similar to Weidorje's: wordless and non-prominent. It is still with its anchor in the fierce rhythm section, which is imperative to all Zeuhl, and comes with a liberal serving of jazz. Despite being more accessible than Magma and the Japa-Zeuhl, they're arguably no less complex, and certainly just as intense. The most exciting thing about Eider's debut album, I find, is not the mind blowing musicianship, nor the classy compositions, but rather the undying atmosphere spread evenly across this mere 35 minute masterpiece. Every listen, I am so entirely captivated, and feel distant from earth.
The bass is a real highlight on this album for me. It moves with a destructive power, and a texture as though something extremely heavy is being dragged. It feels and sounds like snow when crushed under boots. In fact, I find this album bestows frequently imagery. Sandy dunes and polar scenes alike. It smoothly and fluently evolves from dark choruses to jovial themes. At some moments, even, melancholic piano announces a beautiful melody. Other times, guitar and a beautiful female voice together chant a haunting string of notes. Even a few dispersed sax and flute solos appear. But throughout the album, these moments are kept scarce. The majority of the album is comprised of intense rhythms supporting a powerful and destructive guitar line, as spacey keyboards tie it all together. The songs are all somewhat similar, but not to the point the album is redundant. It rather makes the album coherent and gives it its distinct flow.
I can't stress enough how really fantastic this experience is. The singing is just impeccable, and the melodies are haunting and very pronounced. The only flaw hindering this absolute masterpiece is the sub-par sound quality. The cause of this problem is obvious. The only digital copies of this album were ripped straight off the vinyl, non-professionally (that means, somebody feeling generous performed the rip in their basement). You may think this immoral, or even illegal, but it isn't. The album is by now long out of print, and Eider wouldn't profit from your purchase of any copy you stumble across, anyway. It was never remastered, and there was never even a CD version officially released. Many requested have been made of Michel and producers to remaster and reissue Eider's small catalog, but Michel didn't agree to oversee a remaster. Regardless, the original tapes are rumoured to be lost or damaged, so there is no hope of there ever being a remaster anyway.
This all goes to feed the obscurity of this band. Now with the vast majority of vinyl era bands remastering and reissuing their albums, it is assumed any band who doesn't do so will be forever condemned to the oblivion of obscurity. I prithee go in search of a vinyl copy, or a digital copy, and reverse this process. It's a sad shame it's so unpopular on Prog Archives, let alone the rest of the musical world. Please don't let this masterpiece decay in memory.

:::Review by Shakespeare:::

Eider Stellaire - Eider Stellaire I (1981)

1.Onde (1. LP Seite) (8:35)
2. Arctis 6eme éphéméride (7:04)
3. Légende (2. LP Seite) (5:37)
4. Tétra (6:32)
5. Nihil (7:26)

Credits
- Patrick Singery / bass
- Jean Clude Delachat / guitar
- Pierre Gerard-Hirne / piano, organ
- Michel LeBards / drums
- Veronique Perrault / vocals
- Marie-Anne Boda / flute, vocals
- Michel Moindre / saxophone (4)

This is a hidden MAGMA record under a different name.This is MAGMA with a guest vocalist and a guest trumpet player.It was Laurent Thibault's idea to do this,he produced MAGMA's debut record and now had his own record label called "Theieme". He reasoned with both Vander and MAGMA's record label "Philips" ,that if the band did a record of easier to get into material on the first side of the album,and then did their Zeuhl on the other side of the album,it would attract new fans and make them better known.Besides Thibault really wanted MAGMA on his label, and in this way he had a piece of them sort of speak.The first band Thibault signed to his new label was ERGO SUM, who is on our site here.Thibault actually enlisted the vocalist from that band to sing one of the songs on this album. The first side of the album consisted of five songs that combined both the jazz and rock styles similar to BLOOD,SWEAT and TEARS and CHICAGO,lots of horns and very accessible. "You Speak And Speak Colegram" is a Lasry tune that is uptempo with plenty of free sax lines and guitar solos.The drums are of course prominant and the organ chips in as well. "Altcheringa" is a Cahen tune that did bring BLOOD SWEAT and TEARS to mind mainly because of the David Clayton Thomas-like vocals from Zabu.This is a very catchy song.Nice guitar solo before 2 minutes as the bass throbs."Clementine" is a Lasry composition.It consists of only acoustic guitar and flute throughout.This is such a beautiful song,a piece of heaven really.I can't believe this is MAGMA,but it is. "Something's Cast a Spell " is another Lasry tune,although the lyrics were taken from an ERGO SUM song from their debut album.The lead singer from that band sings on this one as well.Sax really dominates,although we get a great guitar solo from Engel after a pastoral section. "Ourania" is a Vander tune and the last song on side one.Flute and guitar start us off before some crazy sax and discordant guitar follow.I like the drum patterns from Vander on this one. Side two is Zeuhl, and both songs were composed by Vander. "Africa Anteria" features some good bass and the sax and piano form a great team.The sax gets a little dissonant and the bass is relentless as they seem to jam for about 5 minutes.We get those bizarre shouts from Vander, and before that a drum solo that is apparently (according to the liner notes) the only recorded drum solo that VANDER did. "Undia" features Blasquiz singing in Kobaian.The song starts off quietly and builds to a full sound.Great drumming on this one, and this pattern of starting softly and building in sound happens a second time. 3.5 stars.The first half of the album is interesting to say the least,considering this is MAGMA.I wouldn't be without this release for the historical significance alone,even if the music isn't all Zeuhl.A must for all you MAGMA fans.

:::Review by sinkadotentree :::

Univeria Zekt - The Unnamables (1971)

1. You Speak And Speak Colegram (2:09)
2. Altcheringa (3:28)
3. Clementine (3:01)
4. Something's Cast A Spell (4:25)
5. Ourania (4:26)
6. Africa Anteria (11:31)
7. Undia (4:47)

Credits
- Christian Vander / drums, percussion, voice (6)
- Klaus Blasquiz / vocals (4 & 7), percussion
- Francois Cahen / pianos
- Francis Moze / bass, organ
- Teddy Lasry / saxes, flute, organ
- Jeff Seffer / saxes
- Tito Puentes / trumpet
- Claude Engel / electric & acoustic guitar
- Zabu / vocals (2)
- Lionel Ledissez / vocals (4)

The French band Rhesus O was formed in 1971 by future Magma keyboarder Jean-Pol Asseline with musicians from the jazz and jazz-rock field and released one self titled record. Soft Machine is the main influence to be found on the record and to a lesser extent Magma, Miles Davis and Frank Zappa. The record presents a melodic jazz-rock with folk and classical elements, based on an instrumentation of two keyboarders: Alain Monier on organ and Jean-Pol Asseline on e-piano and harpsichord, two bass players: Guy Pedersen on double bass and Francis Moze on electric lead bass, Thierry Blanchard on drums and Alain Hatot's sax & flute arrangements.

:::Review by Martin Horst:::

Rhesus O - Rhesus O (1971)

1. Cigüe (2'42)
2. Maldonne (6'51)
3. Crier Pour Donner (5'29)
4. Le Prophète Egaré (2'16)
5. Préambule (6'21)
6. Eveil (4'39)
7. Outre-Tombe (2'50)
8. Parcours (3'51)
9. Nos Baignoires Sont Enchantées (0'44)

Credits
-Alain Monier/ organ, percu
-Alain Hatot/ soprano, tenor, barytone sax, flûte
-Jean-Pol Asseline/ elec piano, harpsichord
-Francis Moze/ elec bass, ac guit, xylophone
-Serge Lenoir/ elec bass
-Thierry Blanchard/ drums, percu
-Guy Pederson/ double bass, elec bass
-Jean Stout/ choir conductor

"Eros" is an incredible album, and ranks as some of the best prog to come out of France. DÜN's brand of prog is complex, aggressive, and fast of ideas. It owes plenty to Zeuhl, but listeners will find tons of ZAPPA, Indonesian gamelan, and fusion-jazz influences. The CD consists of four 10-minute epics from the original album, and 4 bonus tracks (3 of which are early live versions of album tracks). Some of the featured instruments include flutes, vibraphones, and synths. But, like most Zeuhl music, the bass and drums play a very dominant role. The guitarist even adds a fusion sound to the compositions that is rather unique. Overall, "Eros" ranks right up there with ESKATON's "4 Vision".

:::Review by Steve Hegede:::

Dün – Eros (1981)

1. L'Epice (9:25)
2. Arrakis (9:36)
3. Bitonio (7:09)
4. Eros (10:17)
5. Bitonio (alternate) (10:20)
6. Arrakis (alternate) (5:07)
7. Eros (alternate) (7:11)
8. Acoustic Fremen (unreleased) (6:17)

Cedits
- Laurent Bertaud / drums
- Jean Geeraerts / electric guitar, acoustic guitar
- Bruno Sabathe / piano, synthesizers
- Alain Termol / percussions
- Thierry Tranchant / bass
- Pascal Vandenbulcke / flutes

With:
- Philippe Portejoi /sax

Drummer and composer Yoshida Tatsuya continues to be the central (and at times the only) member of Ruins, who have now existed primarily as a bass-and-drums duo for nearly 25 years. Sax Ruins are, as their name suggests, a variation on the Ruins organization, and feature saxophonist/flutist Ono Ryoko alongside Tatsuya. While a sax-and-drums orchestration might suggest a certain sonic and textural minimalism, banish such thoughts immediately: in the studio, Sax Ruins are -- there's no other accurate term for it -- a big band, with Tatsuya writing unbelievably complex and dense compositions that Ryoko plays on multiple instruments in overdubbed parts. It would be nearly impossible to listen to this entire album at a sitting: while many of the pieces are mercifully brief, all are pretty much taken at a single tempo (fast) and played at a single dynamic level (loud). Every individual composition is jaw-droppingly omplicated and intense, and some are downright beautiful in a psychotic bebop sort of way; "Korromda Peimm" is high-octane postmodern bop, tight and angular and arranged with knife-point precision except for a sudden chaotic "ensemble" solo; "Zurna Taksim" is frankly joyous but also startingly brief, at 35 seconds; "Pallaschtom" is nearly goofy in tone, evoking a much less snarky John Zorn; "Znohjmo" briefly invokes Thelonious Monk and also briefly provides a respite from the otherwise consistently headlong clangor of the rest of the program ("Epigonen" also includes a rare soft moment, though "moment" is the operative term here -- the interlude lasts about eight bars). This music is consistently brilliant and actually quite varied in its content, but its presentation is so unrelievedly assaultive that listening for more than a few minutes is a real challenge. Those few minutes, though, might change your life.

:::Review by Rick Anderson:::

Sax Ruins – Yawiquo (2009)

1. Korromda Peimm 2:18
2. Zurna Taksim 0:35
3. Hyderomastgroningem 1:22
4. Cherudmuntzail 3:38
5. Snare 1:16
6. Pallaschtom 2:15
7. Zworrisdeh 5:24
8. Komnigriss 2:00
9. Nivaftopofts 1:13
10. Gravestone 3:18
11. Znohjmo 2:51
12. Jallamjikko 1:41
13. Bupphairodazz 3:54
14. Epigonen 1:43
15. Pig Brag Clack 2:21
16. Djubatczegromm 2:06
17. Yawiquo 6:42

Credits
Drums, Composed By - Yoshida Tatsuya
Saxophone, Flute - Ono Ryoko

Korekyojin is a Japanese experimental rock group started up in the late '90s by Yoshida Tatsuya, drummer and member of the Ruins. Korekyojin also includes bassist Nasuno Mitsuru and guitarist Kido Natsuki. The band's first release came out on Tzadik in 1999, as part of the label's New Japan series.

:::Info from AMG:::

Korekyojin - Swan Dive (2009) (CD)

1. Magnetic Pole 17:30
2. Nonobservance 11:42
3.Vothqrassent 11:21
4.Palljimgrahana 7:46
5.Guru Zakun Kin Kan 24:08
6.Surabaya 4:27

Credits
- Nasuno Mitsuru / bass
- Yoshida Tatsuya / drums
- Kido Natsuki / guitar

Guests

Uchihashi Kazuhisa / guitar on tracks 3 & 4
Hoppy Kamiyama / keyboards & vocals on tracks 5 & 6

The miraculous duo of Yoshida Tatsuya & Imahori Tsuneo, heard previously on the Doubtmusci label as Territory, in their second release. DOTS is even more overpowering, speed, ramified rhythm, edits, and so on. First, they recorded their improvised music in studio, then they overdubbed various sounds, edited the materials and mixed different effects into the tunes. This is the music for the prog rock, math rock, post rock fans. Dense and Fiery !

:::Review by Doubt Music:::

Imahori Tsuneo, Yoshida Tatsuya – Dots (2008)

1. Nets 1:03
2. Lines 5:14
3. Quantum 2:30
4. Shapes 3:47
5. Gene 3:58
6. Dash 3:16
7. Dots 3:35
8. Silence 3:18
9. Blanks 3:29
10. Sheets 3:31
11. Expiry 3:39
12. Lags 2:59
13. Shots 3:34
14. Quarters 5:02
15. Plugs 1:20
16. Films 4:05
17. Mothers 8:50

Credits
Drums, Percussion, Other [Devices], Voice, Composed By, Edited By, Mixed By, Producer - Yoshida Tatsuya
Guitar, Bass Guitar, Other [Devices], Composed By, Edited By, Producer - Imahori Tsuneo
Mastered By, Producer - Suto Tsutomu

Yoshida Tatsuya has never made any secret of his love for Zeuhl, and nowhere is this more obvious than on his work with Koenji Hyakkei, which he once said he intended to be the Japanese Magma. This album more than delivers on that promise, and is one of the most exciting and accessible projects he has ever been involved with.
Right from the outset this album will bring a smile to the face of any Zeuhl head - a bubbling bass line, nano second precise cymbal crashes and massed male and female vocals call to mind some of Magma's jazzier excursions, although on the title track there are a couple of diversions into Ruins style mayhem that Christian Vander would never include on a mainstream release. The vocals are in an invented language (not Kobaian, although it sounds similar) which further adds to the occasional feeling that this is an out take from a lost Magma session. This is not simply a rehashing of Magma's finest moments, however - there are enough original touches to let you know that Koenji Hyakkei are a band with their own ideas and agenda. Synthesisiers are used far more extensively than on most Magma releases, while the guitarst occasionally gets to cut loose with some downright dirty rock sounds where Vander (who often leaves guitar out altogether) would favour a cleaner, jazz oriented tone. More than anything else, what sets Koenji Hyakkei apart is their sheer sense of urgency. The longest track on this album, Lussesoggi Zomn, clocks in at just over 10 minutes, but feels like one of Magma's lengthier excursions compressed to about a quarter of its original length. They even manage to include an ever ascending scale ( a neat inversion of the ever descending scale in Kohntarkohsz). There's also a sense of fun (not humour, exactly, but the feeling that the musicians are cracking huge grins at each other as they trade lightspeed licks) that is often absent from the core Zeuhl acts.
This album is recommended to anyone into virtusoic playing and the wilder side of avant prog. The labyrinthine twists and turns, with sudden shifts in tempo and dynamics, will leave you slack jawed with astonishment, while any one of these 9 pieces will leave 2 or 3 fragments of melody reverberating around your skull for days after you've listened to it. This is by no means just for Zeuhl fans - open minded fans of just about any sub genre should find plenty to enjoy on here, between the highly symphonic keyboard sounds, the piledriving rhythms, the jazzy chord patterns and the general atmosphere of a group of highly skilled players doing exactly what they do best and loving every minute of it. Subarashii desu!

:::Review by Syzygy:::

Koenjihyakkei – Nivraym (2001)

1. Nivraym (5:40)
2. Becttem Pollt (5:21)
3. Lussesoggi Zomn (10:26)
4. Vissqaguell (5:31)
5. Mederro Passquirr (6:23)
6. Axall Hasck (6:34)
7. Maschtervoz (4:10)
8. Gassttrumm (9:24)
9. Vallczeremdoss (4:49)

Credits
- Yoshida Tatsuya / drums, vocals
- Kengo Sakamoto / bass, vocals
- Jin Harada / electric guitar, acoustic guitar
- Kenichi Oguchi / keyboards
- Nami Sagara / vocals

- Keiko Komori / soprano sax, bass clarinet
- Taku Yabuki / keyboards
- AH / vocals