Released
almost three years after Art Zoyd's first LP, Symphonie Pour le Jour où
Brûleront les Cités,Musique Pour l'Odyssée (Music for the Odyssey)
presented a slightly different version of the band. The nucleus of
Gérard Hourbette (violin), Thierry Zaboïtzeff (bass guitar, cello,
vocals), and Jean-Pierre Soarez (trumpet) is joined by percussionist
Daniel Denis (who would remain a core member of the band for two
decades), oboist/bassoonist Michel Berckmans (of Univers Zero and Von
Zamla), saxophonist Michel Thomas, and a second violinist, Franck
Cardon. This lineup recorded an album much more cinematic than the
first. The 17-minute epic "Musique Pour l'Odyssée" is very moody, going
from climactic passages to near silence (something pushed even further
on "Bruit, Silence -- Bruit, Repos"). Its slow development and
ritualistic percussion accompanying prehistoric grunts gives a first
example of the surrealistic soundtrack side of the band's music, which
will become the center of its production in the 1990s (Faust, Haxan).
"Trio 'Lettre d'Automne'" is a quiet string trio bringing the album to
an end on a weaker note. Less impressive than its predecessor, Musique
Pour l'Odyssée remains a very honest item in Art Zoyd's discography and
the title track alone is worth listening to the album. This LP was
reissued in 1999 on a two-CD set together with Symphonie Pour le Jour où
Brûleront les Cités and Génération Sans Futur. In 2013, Sub Rosa
released an edition of Musique Pour l'Odyssée with seven bonus tracks. François Couture
Tracklist :
1. Musique Pour L'Odyssée: Odyssée / Falaise / Combat / Etrave / Combat / Voile / Odyssée 17:05
2. Bruit, Silence - Bruit, Repos 10:44
3. Trio "Lettre D'Automne" 7:01
Performer [All Instruments], Recorded By – Thierry Zaboitzeff
– BONUS TRACKS –
4. Ba Benzele 8:04
Credits :
Bass, Cello, Voice – Thierry Zaboitzeff (tracks: 1 to 3)
Composed By – Gérard Hourbette (tracks: 1, 3), Thierry Zaboitzeff (tracks: 2, 4)
Oboe, Bassoon – Michel Berckmans (tracks: 1 to 3)
Percussion – Daniel Denis (tracks: 1 to 3)
Saxophone [Soprano, Tenor] – Michel Thomas (tracks: 1 to 3)
Trumpet – Jean Pierre Soarez (tracks: 1 to 3)
Viola – Gérard Hourbette (tracks: 1 to 3)
Violin – Franck Cardon (tracks: 1 to 3)
20.6.25
ART ZOYD – Musique Pour L'Odyssée (1979-2008) Two Version | FLAC (image+.tracks+.cue), lossless
ART ZOYD – Génération sans futur (1980-2008) Two Version | FLAC (image+.tracks+.cue), lossless
Génération Sans Futur (Generation Without a Future), Art Zoyd's third LP, comes back to the sound (and lineup, plus Daniel Denis) of the group's first Symphonie Pour le Jour où Brûleront les Cités. The 17-minute "La Ville" is a powerful epic including Thierry Zaboïtzeff's prehistoric grunts, complex time shifts, and a tribal/ritualistic feel once again close to the spirit of Magma. But unlike "Musique Pour l'Odyssée" (title track of Art Zoyd's second album), the music here is fast-paced, less atmospheric, more organized. It plays on the tension that will remain the basis of Art Zoyd's originality: a tribal, atavistic feel contrasting with contemporary classical aesthetics. Actually, Génération Sans Futur may be leaning more toward the contemporary side, as exemplified by pieces like "Divertissement," "Trois Miniatures," and the manic "Speedy Gonzales." "Génération Sans Futur," on the other hand, taps into a more visceral progressive rock format and percussionist Daniel Denis actually gets to play drums for a couple of minutes, giving the piece an unusual drive. A strong album, Génération Sans Futur would soon be eclipsed by Art Zoyd's next release, the band's two-LP classic Phase IV. Génération Sans Futur was reissued in 1999 on a two-CD set together with Symphonie Pour le Jour où Brûleront les Cités and Musique Pour l'Odyssée. François Couture
Tracklist :
1. La Ville 16:51

3. Divertissement 6:44
4. Trois Miniatures 5:15
5. Génération Sans Futur 9:42
– BONUS TRACKS – Archives 2 (1984-1987)
6. Ex Tractu Do Inocauit 2:56
7. Le Combat Des Dragons - 1 2:46
8. Le Combat Des Dragons - Final 1:52
9. Malbodium - Sommeil Du Noble 0:42
10. Malbodium - Entrée 1:33
11. Malbodium - Eglises 1:18
Credits :
Guitar – Alain Eckert
Piano – Patricia Dallio
Saxophone [Saxes] – Gilles Renard
Trumpet [Trompette Si B] – Jean-Pierre Soarez
Violin, Viola [Alto] – Gérard Hourbette
Violoncello [Violoncelle], Bass, Vocals – Thierry Zaboitzeff
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ART ZOYD – Phase IV (1982-2008) 2CD | Two Version | FLAC (image+.tracks+.cue), lossless
Drummerless French contemporary music ensemble Art Zoyd pursued a unique
and evolving artistic vision during the '70s and '80s, and the
uncompromising classic 1982 opus Phase IV is justifiably considered one
of the group's peak accomplishments. On this sprawling fourth album -- a
two-LP set produced by Henry Cow/Art Bears' Chris Cutler, engineered by
the great Etienne Conod, and released on Recommended Records -- the
Rock in Opposition co-founders marry dark, unsettling atmospherics à la
Univers Zero to precise minimalist constructs with hints of Philip Glass
or Steve Reich. One hears antecedents to Phase IV in the lengthy tracks
penned by Gérard Hourbette or Thierry Zaboitzeff on the group's
preceding albums between 1976 and 1980, with their layered motifs, bold
and crisply defined rhythmic attack despite the lack of drums, and fits
of urgency amidst the general disquiet, but the band could occasionally
seem surprisingly lighthearted on those discs, veering into expressive
chamber music, uptempo jazziness, and Samlas or Gong-style oddball
vocals rather than the more typical ritualistic Magma-esque chanting.
Phase IV found Art Zoyd pursuing a more unified aesthetic. Reduced from
the sextet configuration heard on 1980's Génération Sans Futur to a
quintet with violinist/violist Hourbette, electric bassist/cellist
Zaboitzeff, and trumpeter/flügelhornist Jean-Pierre Soarez the only
holdovers, Art Zoyd were now solidly a vehicle for the compositions of
Zaboitzeff and Hourbette, the latter of whom also played piano and
synthesizer for the first time, joining incoming pianist/keyboardist
Thierry Willems (saxophonist Didier Pietton was the other newcomer,
replacing Gilles Renard).
The
stunningly adept Zaboitzeff's 14-plus-minute "État d'Urgence" begins
the album with a tense pulse and rising horns that emerge from an intro
fanfare and undercurrents of agitated crowd noise; later on, a thick
bass drone, insistent keyboard figure, and guttural vocal give way to
riffs and phrases employed by the bandmembers with phenomenal dexterity
and unflagging momentum. The craziness escalates with shouted voices,
cacophonous keys, and squealy free jazz sax, but the underlying pulse is
unrelenting as the dynamic draws down to animated percolations before
gradually gaining force beneath Soarez's multi-tracked canonical
trumpets. For all its shifts in tempo and dynamics, "État d'Urgence"
remains cohesive in its rigorous adherence to structure, astringent
harmonics, and meld of electric and acoustic timbres -- and the same can
be said of Phase IV as a whole. Wailing sax and horns and ghostly
string overtones occasionally draw from the world of creative
improvisation, but they're pitted against bass and keys that refuse to
budge from their implacable course, whether glacially paced or more
frantic. Yet unexpected moments of lyricism and beauty also emerge,
notably in Zaboitzeff's alternately lovely, cinematic, and exuberant
"Ballade," a four-minute track sandwiched amidst a handful of short
pieces on the album's second side. Best of all are the moments when, as
in Hourbette's "Vue d'un Manège" or "La Nuit," Art Zoyd open the door to
consonance and achieve expansive vistas in sound while never
sacrificing the darkness at their music's heart. Dave Lynch
Tracklist 1 :
1. État D'Urgence 14:35
Composed By – T. Zaboitzeff
2. Naufrage 6:43
Composed By – G. Hourbette
3. Dernière Danse 4:35
Composed By – T. Zaboitzeff
4. Et Avec Votre Esprit 5:18
Composed By – G. Hourbette
5. Ballade 4:05
Composed By – T. Zaboitzeff
6. Deux Préludes 2:15
Composed By – G. Hourbette
7. La Musique D'Erich Faes 0:14
Tracklist 2 :
1. Chemins De Lumière 15:16
Composed By – G. Hourbette
2. Du Sang Sur La Neige 4:18
Composed By – T. Zaboitzeff
3. Vue D'Un Manège 4:12
Composed By – G. Hourbette
4. La Nuit 13:06
Composed By – G. Hourbette
5. Les Larmes De Christina 3:44
Composed By – G. Hourbette
6. Manège (1975) Live 12:38
Bass Guitar – Thierry Zaboitzeff
Cello, Violin – Franck Cardon
Composed By – F. Cardon, G. Hourbette, T. Zaboitzeff
Trumpet – Jean-Pierre Soarez
Violin – Gérard Hourbette
Credits :
Bass Guitar, Cello, Guitar, Voice – Thierry Zaboitzeff (tracks: 1-1 to 2-5)
Piano, Keyboards – Thierry Willems (tracks: 1-1 to 2-5)
Saxophone – Didier Pietton (tracks: 1-1 to 2-5)
Trumpet, Cornet, Percussion – Jean-Pierre Soarez (tracks: 1-1 to 2-5)
Viola, Violin, Keyboards – Gérard Hourbette (tracks: 1-1 to 2-5)
2.6.25
CARPE DIEM — En Regardant Passer le Temps (1978-2017) RM | SHM-CD | Mini LP | Two Version | FLAC (image+.tracks+.cue), lossless
This album has really grown on me big time. This has got to be one of the greatest prog albums I have bought in a long time. This group, as far as French prog bands are concerned gets mentioned up there with the likes of PULSAR, ATOLL, MAGMA, ANGE, etc. and without good reason. The band consisted of keyboardist/vocalist Christian Truchi, guitarist Gilbert Abbenanti, bassist Alain Berge, drummer Alain Faraut, and saxist/flutist Claude-Marius David (who unfortunately died in 1993, according to the booklet included in the Musea CD reissue, but unfortunately no mention of cause of death).
"En Regardant Passer Le Temps" is the first of only two albums and is generally regarded as the better of the two. This is one of the very few prog rock albums I've found where I can't find any flaws. Many times I have problems with bad production, bad vocals (or a band singing in poor English if they're from a non-English speaking country), an album getting hampered by a sappy ballad or two, awful synth sound, poor lyrics, or whatever, but none of that's to be found here. Christian Truchi decides to sing in his native French, and he has one of the more pleasant voices in French prog (a refreshing change, when you're accustomed to harsh French vocals, like that of ANGE).
The band has one of the more unique keyboard sounds I've heard, rather than the usual Hammond organ, Mini Moog, and Mellotron, Truchi used a Farfisa electric piano, an unidentifiable synth, and a string synth. So many times you see this band compared with GONG, or CAMEL, or SOFT MACHINE. Don't buy in to that at all, this has got to be one of the more original mid '70s prog albums. For one thing, the music is way more sophisticated than what GONG did. There are plenty of jazzy passages because of the presence of sax, but plenty of spacy symphonic passages. The band is often placed under the "space fusion" category with the likes of GONG and even OZRIC TENTACLES, which is a bit strange, given CARPE DIEM was quite a bit more sophisticated. Expect more of a symphonic space prog album.
The album consists of only four cuts, but all are of the same quality, so it's really difficult picking out the best cut. Plus you can't beat the cover, which is very much in the style of M.C. Escher (done by Hubert Pattieu). Truly an essential album, as far as I'm concerned. progarchives
1 Voyage Du Non-Retour 3:45
2 Réincarnation 12:50
3 Jeux Du Siècle 9:00
4 Publiphobie 10:50
Credits :
Bass – Alain Berge
Drums, Percussion – Alain Faraut
Guitar – Gilbert Abbenanti
Keyboards, Vocals – Christian Truchi
Soprano Saxophone, Flute, Percussion – Claude M. David

28.5.25
CELESTE — Celeste (1976-2010) RM | Italian Rock SHM-CD Series | FLAC (tracks+.cue), lossless
Along with Museo Rosenbach, Celeste were born from the ashes of the legendary Il Sistema, a band from Sanremo whose only posthumous released recordings don't give a real idea of what they were.
Formed by drummer Ciro Perrino and sax player Leonardo Lagorio (who had played with Museo Rosenbach in their early days) this four piece went in a totally different direction from their beginnings, playing a mostly acoustic, dreamy and delicate prog. A studio group, they had a very limited live experience.
Their first album, Celeste, also known as Principe di un giorno, was released by the small Grog label only in 1976, but the tracks had been composed in 1973 and recorded in 1974. It contains seven tracks, with pastoral lyrics and a style not far from the softer side of early King Crimson.
A second album, recorded in 1977, was released in 1991 by Mellow with the obvious title of Celeste II. Closer to jazz-rock and very far from their debut album, this suffers from poor quality and unfinished recordings.
Another album, born as a soundtrack and called I suoni in una sfera was also released in 1992, more similar to their first work and including two songs also on Principe di un giorno.
After the band split Ciro Perrino played with St.Tropez (that also included Celeste bass player Battaglia), Compagnia Digitale and SNC and released a solo album (Solare in 1980), before founding with Mauro Moroni the praiseworthy Mellow label, so important during the years for the world diffusion of the Italian prog. wiki
Tracklist :
1 Principe Di Giorno
Bass, Pedal Steel Guitar, Xylophone – Giorgio Battaglia
Guitar, Violin – Mariano Schiavolini
Percussion, Flute, Mellotron, Vocals – Ciro Perrino
Piano [Acoustic], Electric Piano, Flute, Alto Saxophone, Mellotron, Synthesizer [Eminent] – Leonardo Lagorio
2 Favole Antiche
Bass – Giorgio Battaglia
Guitar – Mariano Schiavolini
Percussion, Flute, Vocals – Ciro Perrino
Piano [Acoustic], Electric Piano, Synthesizer [ARP Odyssey], Flute, Spinet – Leonardo Lagorio
3 Eftus
Bass – Giorgio Battaglia
Effects [È Qui - Si È] – Aldo De Scalzi
Flute, Synthesizer [ARP 2600], Mellotron – Leonardo Lagorio
Guitar, Vocals – Mariano Schiavolini
Percussion, Flute, Vocals – Ciro Perrino
4 Giochi Nella Notte
Bass, Chorus – Giorgio Battaglia
Guitar, Violin, Chorus – Mariano Schiavolini
Percussion, Flute, Flute [Flauto Dolce], Vocals, Chorus, Xylophone – Ciro Perrino
Piano [Acoustic], Electric Piano, Flute, Synthesizer [ARP 2600, Eminent], Mellotron, Chorus – Leonardo Lagorio
5 La Grande Isola
Bass – Giorgio Battaglia
Effects [Plop] – Aldo De Scalzi
Flute – Leonardo Lagorio
Guitar – Mariano Schiavolini
Percussion, Vocals – Ciro Perrino
6 La Danza Del Fato
Bass – Giorgio Battaglia
Guitar – Mariano Schiavolini
Percussion, Flute, Vocals – Ciro Perrino
Piano [Acoustic], Synthesizer [ARP 2600], Flute, Mellotron – Leonardo Lagorio
7 L'imbroglio
Bass, Electric Guitar – Giorgio Battaglia
Guitar, Violin – Mariano Schiavolini
Percussion, Flute, Mellotron, Vocals, Flute [Flauto Dolce] – Ciro Perrino
Piano [Acoustic], Electric Piano, Flute, Synthesizer [ARP 2600], Mellotron, Saxophone [Contralto], Tenor Saxophone – Leonardo Lagorio
16.3.25
TIBET — Tibet (1978-2013) RM | SHM-CD | FLAC (image+.cue), lossless
Diamond in the rough, lost gem, obscure record, oddity or criminally underrated; pick one you like it all means the same.
Tibet kicks ass with a high level of musicianship, quirky melodies and a really weird (but likeable) art cover. To be frank, once again it's the cover that brought me to that record. And the cover is telling you pretty accurately what you can expect: fantasy. Is it me or the Egyptian art is perfectly fit for progressive rock? K2 and Ash Ra Tempel find it too I heard.
If you find this record, pick it now. You'll get your money's worth. It's easy to get into and to hum later. The mood is well set for smoke machines (or other instruments) and trippy lights. The vocals are not the strongest part, but many bands like Ramses have the same problem without ruining the mood.The singer has a RPI tremolo, even in english, weird as it seems. On the very plus side, you have a ton load of good keyboard (Peter Bardens style), guitar and bass (a la Eloy). I can easily spot Pink Floyd and Camel here and there, but the Eloy factor is tangible even more. Good news!! progarchives.com
Tracklist :
1. Fight Back (4:59)
2. City By The Sea (4:24)
3. White Ships And Icebergs (6:15)
4. Seaside Evening (4:13)
5. Take What's Yours (7:23)
6. Eagles (6:05)
7. No More Time (5:30)
Line-up / Musicians
- Kalus Werthmann / Lead Vocals
- Jürgen Grutzsch / Guitar, Percussion
- Deff Ballin / Keyboards, Percussion
- Dieter Kumpakischkis / Keyboards
- Karl Heinz Hamann / Bass, Percussion
- Fred Teske / Drums
14.3.25
BACAMARTE — Depois Do Fim (1983-2009) RM | SHM-CD | FLAC (tracks+.cue), lossless
Arguably one of the strongest progressive rock albums from South
America. We can even say that it can beat most European progressive rock
albums of the 80's. Two trademarks are original Portuguese female vocal
and virtuoso guitar. However, also keyboard layers and folk influences
underlined by flute, are hearable. Influences could be traced to Italian
prog and Genesis/Camel/Yes."Smog alado" is a symphonic composition with
solemn organ in the second part and great vocal. The first track is a
pleasant instrumental piece."Miragem" features guitar with Brazilian
folk motives; by now you must have noticed that the guitar has a
slightly different recorded sound than usually. "Ultimo Entardecer" is
the longest track and most varied track. Howe-like guitar runs,
Wakeman's synths, acoustic section after symphonic one,...
"Controversia"
is not a controversial instrumental workout in a typical Bacamarte
manner. The title track has a very solemn synth start and returns down
to earth with the female vocals. stanley sgtpepper
Il
y a bien longtemps que je n'ai pas écouté de disques de Progressive
Rock, préférant me concentrer sur ma passion musicale pour la musique
brésilienne. Après O Terço, les années 70, je découvre Bacamarte, les
années 80. Le lien s'effectue entre deux de mes passions, la Prog
anglo-saxonne et la MPB. Magnifique premier morceaux, "UFO", qui propose
une ouverture latine (guitare acoustique) pour ensuite dériver vers des
rivages qui m'évoquent Camel, Genesis ou Gentle Giant. Deuxième
morceau, "Smog Alado", les esprits de la MPB invoquent Jethro Tull et
Yes. Et puis l'apparition de la voix de Jane Duboc qui chante en
portugais. Deux singularités dans le monde de la Prog dominé par
l'anglais et les voix masculines. Bacamarte est un immense album de Prog
Symphonique porté par des claviers luxuriants et la guitare inspirée de
Mario Neto qui a composé la majorité des morceaux. Proche de l'album
concept, homogène, mais pas répétitif, Bacamarte porte vraiment très
haut la Prog, genre musical très mineur au Brésil. L'album fait partie
des 100 meilleures productions de la Prog internationale. Dominique Deret
Tracklist :
1 UFO 6:27
Composed By – Mario Neto
2 Smog Alado 4:10
Composed By – Mario Neto
3 Miragem 4:51
Composed By – Mario Neto
4 Pássaro De Luz 2:32
Composed By – Mario Neto
5 Caño 1:57
Composed By – Marcus Moura
6 Último Entardecer 9:26
Composed By – Mario Neto, Sergio Villarim
7 Controvérsia 1:57
Composed By – Delto Simas, Marco Veríssimo
8 Depois Do Fim 6:30
Composed By – Mario Neto
Credits :
Drums – Marco Veríssimo (tracks: 1 to 8)
Electric Bass, Acoustic Bass – Delto Simas (tracks: 1 to 8)
Flute, Accordion – Marcus Moura (tracks: 1 to 8)
Instruments, Guitar, Acoustic Guitar, Mixed By, Producer – Mario Neto
Keyboards – Sergio Villarim (tracks: 1 to 8)
Percussion – Mr. Paul (tracks: 1 to 8)
Programmed By [Drum Machine] – Mario Neto (tracks: 9)
Recorded By [Recording] – Toninho Barbosa (tracks: 1 to 8)
Written-By
– Delto Simas (tracks: 7), Marco Veríssimo (tracks: 7), Marcus Moura
(tracks: 5), Mario Neto (tracks: 1 to 4, 6, 8), Sergio Villarim (tracks:
6)
Vocals – Jane Duboc (tracks: 2, 4, 6, 8)
9.3.25
ATOMIC ROOSTER — Death Walks Behind You (1970-2016) RM | SHM-CD, Mini LP | FLAC (tracks+.cue), lossless
Tracklist :
1. Death Walks Behind You (7:24)

John Du Cann / Vincent Crane
2. VUG (instrumental) (5:03)
Vincent Crane
3. Tomorrow Night (4:02)
Vincent Crane
4. 7 Streets (6:47)
John Du Cann
5. Sleeping For Years (5:30)
John Du Cann
6. I Can't Take No More (3:36)
John Du Cann
7. Nobody Else (5:04)
Vincent Crane
8. Gershatzer (instrumental) (8:01)
Vincent Crane
Line-up / Musicians
John Cann - Acoustic & Electric Guitars, Lead Vocals
Vincent Crane - Hammond Organ, Piano, Backing Vocals
Paul Hammond - Drums, Percussion

18.11.21
ART BEARS - Hopes & Fears (1978-2015) RM / Mini LP SHM-CD / FLAC (image+.cue), lossless
The first album from Dagmar Krause, Chris Cutler, and Fred Frith's post-Henry Cow project is one of the art rock masterpieces of the 1970s. It's as politically potent as Henry Cow's more strident work, but couched in more poetic and provocative terms. Opening with Bertolt Brecht's "On Suicide," with Krause declaiming the playwright's bitter lyrics in her semi-operatic style to the wheezing accompaniment of Frith's harmonium, the album continues in that uncompromising vein. Although most of the other members of Henry Cow guest, with reeds player Lindsay Cooper and keyboardist Tim Hodgkinson playing on a majority of the 13 songs, Hopes and Fears is considerably more focused and powerful than that group's often scattershot albums. The songs are built on Cutler's impressively varied drumming (often on electronically modified instruments), and the amazing variety of sounds Frith is able to coax out of a battery of electric and acoustic guitars, but there's enough space in the music for Krause's unique vocals to shine. Highlights include the epic, multi-part "In Two Minds," parts of which are as close as the Art Bears ever come to conventional rock music (which is to say, not very close at all, but there's an electric guitar solo), and the puckish instrumental, "Moeris Dancing." by Stewart Mason
Tracklist :
1 On Suicide 1:26
Written-By – Brecht, Eisler
2 The Dividing Line 4:11
Written-By – Cutler, Frith, Cooper
3 Joan 3:05
Written-By – Cutler, Frith
4 Maze 5:05
Voice [2nd Voice] – Georgie Born
Written-By – Cutler, Frith
5 In Two Minds 8:45
Written-By – Cutler, Frith
6 Terrain 3:49
Bass – Fred Frith
Written-By – Frith7 The Tube 3:05
Bass – Fred Frith
Written-By – Cutler, Frith
8 The Dance 5:09
Written-By – Cutler, Frith
9 Pirate Song 1:28
Piano – Tim Hodgkinson
Written-By – Cutler, Hodgkinson
10 Labyrinth 2:15
Written-By – Cutler, Hodgkinson
11 Riddle 2:49
Written-By – Cutler, Frith
12 Moeris, Dancing 8:08
Written-By – Frith
13 Piers 2:10
Written-By – Cutler, Frith
14 Silence 1:00
15 The Riddle 2:21
16 First Things First 1:55
17 March From The Dance 1:05
18 The Hermit 2:47
Credits :
Bass, Cello – Georgie Born
Bassoon, Oboe, Soprano Saxophone, Recorder – Lindsay Cooper
Drums, Drums [Electrified Drums], Percussion [Percussions], Noises [Noise], Artwork [Centre] – Chris Cutler
Guitar [Guitars], Violin, Viola, Piano, Harmonium, Xylophone – Fred Frith
Organ, Clarinet – Tim Hodgkinson
Voice – Dagmar Krause
ART BEARS - Winter Songs (1979-2015) RM / Mini LP SHM-CD / FLAC (image+.cue), lossless
The Art Bears' second album consists of 12 songs of various tensions: rest vs. speed, improv vs. pulse, space vs. density, Dagmar Kraus's vocals vs. everyone else. As usual, Chris Cutler's lyrics tell political allegories through medieval-tinged stories: slaves, castles, and wheels of fortune (and industry) dominate. Fred Frith explores discordance through his guitar, and European folk figures through his always enjoyable violin. Though not as confrontational as their other work, the centerpiece has to be the frantic "Rats and Monkeys" with three minutes of teeth-gritting, out-of-control insanity as all three players are plugged into a wall outlet and let rip. A guaranteed lease breaker if played often enough. by Ted Mills
Tracklist :
1 The Bath of Stars 1:45
Chris Cutler / Fred Frith
2 First Things First 2:50
Chris Cutler / Fred Frith
3 Gold 1:41
Chris Cutler / Fred Frith
4 The Summer Wheel 2:47
Chris Cutler / Fred Frith
5 The Slave 3:38
Chris Cutler / Fred Frith
6 The Hermit 2:59
Chris Cutler / Fred Frith
7 Rats and Monkeys 3:24
Chris Cutler / Fred Frith
8 The Skeleton 3:11
Chris Cutler / Fred Frith
9 The Winter Wheel 3:06
Chris Cutler / Fred Frith
10 Man and Boy 3:21
Chris Cutler / Fred Frith
11 Winter/War/Force/Three Figures 3:05
Chris Cutler / Fred Frith
12 Force 0:54
Chris Cutler / Fred Frith
13 Three Figures 1:51
Chris Cutler / Fred Frith
14 Three Wheels 3:35
Chris Cutler / Fred Frith
Credits :
Drums, Percussion, Written-By, Arranged By, Text By [Texts] – Chris Cutler
Guitar [Guitars], Violin, Keyboards, Xylophone, Written-By, Arranged By, Composed By [Compositions] – Fred Frith
Voice – Dagmar Krause
ART BEARS - The World as It Is Today (1981-2015) RM / Mini LP SHM-CD / FLAC (image+.cue), lossless
If you thought Henry Cow was a pretty political band to start with, you may be even more taken aback by the Art Bears, which was put together following Henry Cow's demise by former Cows Chris Cutler (percussion), Fred Frith (guitar, violin), and Dagmar Krause (voice). On The World As It Is Today and its predecessor, Winter Songs, the Art Bears move away from the long-form art rock of Henry Cow and get much, much more politically explicit: song titles like "The Song of the Dignity of Labour Under Capital" and "The Song of Investment Capital Overseas" almost sound like Monty Python gags today, but if any humor was intended it was clearly meant to be mordant. Frankly, the lyrics are so overwrought and portentous that it's hard to take them seriously. But the music is something else again. Cutler and Frith are natural collaborators; Cutler's drumming always rides a very fine line between the scattershot and the funky, while Frith bounces his horror-show guitar noise and carnival piano off of Cutler's grooves with manic abandon and fearsome inventiveness. And Krause's singing is just as inventive; she whoops, croons and screams her way through the density of Cutler's lyrics without a hesitation or misstep. Easy listening it isn't, but it's sure worth hearing. Frith fans, in particular, should consider this album a must-own. by Rick Anderson
Tracklist :
1 The Song of Investment Capital Overseas 2:38
Chris Cutler / Fred Frith
2 Truth 2:56
Chris Cutler / Fred Frith3 Freedom (Armed) Peace 3:25
Chris Cutler / Fred Frith
4 (Armed) Peace 2:30
Chris Cutler / Fred Frith
5 Civilisation 4:52
Chris Cutler / Fred Frith
6 Democracy 2:22
Chris Cutler / Fred Frith
7 The Song of the Martyrs 4:09
Chris Cutler / Fred Frith
8 Law 0:51
Chris Cutler / Fred Frith
9 The Song of the Monopolists 1:48
Chris Cutler / Fred Frith
10 The Song of the Dignity of Labour Under Capital 2:27
Chris Cutler / Fred Frith
11 Albion, Awake! 4:08
Chris Cutler / Fred Frith
12 Silent Track 1:00
13 Code To Man And Boy 7:18
14 All Hail 4:08
15 Duck And Cover: The Song Of Investment Capital Overseas 3:43
Credits :
Drums, Electronic Drums [Electric Drums], Percussion, Lyrics By [Texts], Artwork [Booklet] – Chris Cutler
Guitar, Keyboards, Violin, Viola, Composed By [Compositions] – Fred Frith
Songwriter [All Songs Written By], Arranged By – Chris Cutler, Fred Frith
Vocals – Dagmar Krause
2.1.20
HENRY COW — Leg End (1973-2015) RM | SHM-CD | FLAC (image+.cue), lossless
Tracklist ¨:
1 Nirvana For Mice 4:53
Tenor Saxophone – Geoff
Written-By – Frith
2 Amygdala 6:47
Bassoon – Lindsay Cooper
Written-By – Hodgkinson
3 Teenbeat Introduction 4:32
Mixed By [Remixed By] – Fred Frith
Voice – Cathy Williams, Maggie Thomas, Sarah Greaves
4 Teenbeat 6:57
Alto Saxophone [Alto On End Of] – Tim
Mixed By [Remixed By] – Fred Frith
Voice – Cathy Williams, Maggie Thomas, Sarah Greaves
Written-By – Frith, Greaves
5 Nirvana Reprise 1:11
Mixed By [Remixed By] – Fred Frith
Written-By – Frith
6 Extract From 'With The Yellow Half-Moon And Blue Star' 2:26
Written-By – Frith
Xylophone [Pixiphone] – Jeremy Baines
7 Teenbeat Reprise 5:07
Mixed By [Remixed By] – Fred Frith
Voice – Cathy Williams, Maggie Thomas, Sarah Greaves
Written-By – Frith
8 The Tenth Chaffinch 6:06
Written-By – H. Cow
9 Nine Funerals Of The Citizen King 5:34
Written-By – Hodgkinson
10 Bellycan 3:19
Tenor Saxophone – Geoff
Written-By – H. Cow
Bonus Tracks
11 Teenbeat 10:19
Voice [Conversation] – Amanda Parsons, Ann Rosenthal
Voice [Conversation], Celesta – Dave Stewart
12 Citizen King 5:21
13 Nirvana For Moles 4:09
Credits
Bass, Piano, Whistle, Voice – John Greaves
Drums, Toy [Toys], Piano, Whistle, Voice – Chris Cutler
Guitar [Guitars], Violin, Viola, Piano, Voice – Fred Frith
Organ, Piano, Alto Saxophone [Alto Sax], Clarinet, Voice – Tim Hodgkinson
Saxophone [Saxes], Flute, Clarinet, Recorder, Voice – Geoff Leigh
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Frob came from Rheda-Wiedenbrück in the east of Westphalia and played instrumental jazz-rock including progressive elements. Their great a...
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