02. L'ongle casse contre un nounours au bras tordu
03. La fascination de l'ordre
04. Sombre
05. Hit
06. Tosca
07. La seduction de la facilite
08. Ode primitive
09. Le rose aux joues
10. Chant pietre
11. La soif du pouvoir
12. Wien, Wien nur du allein
Pierre Coulon / flute
Dirk Descheemaker / clarinet
Michel Berckmans / bassoon
Laurence Cornez / piano, percussions
Jeannot Gillis / violin, trombone
Edith Heudens / viola
dine Steenackers / cello
Andre Klenes / double bass
After more than a decade silence , this seminal and centrepiece of Belgian Chamber Progrssive Music came back to life and dedicated this album to an early 20th-century building a bit forgotten (and slightly abandonned) devoted to Human Passions (of which if you look at the artwork is a bas-relief , lust and lush abandon are definitely among the passions described). Unfortunately , this building is to remain closed for sometime more as it stands next to Brussels Grand Mosque and you guessed it , this might create some controversy, that no one wants.
However , even after a ten years hiatus, nothing new under the Julverne sun: still the same chamber prog music , hovering around classical quintets and slighly more modern contemporary music. Entirely acoustic , and driven by Jeannot Gillis and other original members Claudine Steenackers , and Pierre Coulon (the historical leader) but joined by UNIVERS ZERO members Michel Berckmans and Dirk Descheemaker, this is typical Julverne record that will fit quite nicely alongside their previous works. Among the few surprises are a Michel Jonasz song adatation , the famopus Puccini Tosca theme and a moody Sieczinski 1939-written Vienna waltz composed on the somber mood from Andreas Schönberg as the city was under the Anschluss. I am not saying it , Jeannot Gillis is in the booklet.
This album is a compilation of tracks taken from three of their four albums, excluding Emballade (which had created controversy amongst their fans) but incuding the following album 86's Ne Parlons Pas De Malheur
If you are not familiar with Julvene (taking their name from Sci-Fi father Jules Vernes) , this CD is ideal for an introduction to the band's unique chamber music. I am a afraid the Chamber Rock term would be misused here as there is no rock elements in Julverne but if they are associated in the Archives , it would be because of the many links to other Belgian prog bands most notably Cos and Univers Zero. Michel Berckmans (U Z and Von Zamla ) Deschemaeker (future UZ) and Loos (Cos and Belgian Jazz rock scene ) are among the local stars in the line-up of all four albums. The music developped here is also very much comparable to Univers Zero (especially Ceux Du Dehors) and the more recent Present albums. Please note that two of the tracks from Les Coulonneux have been re-recorded for this occasion. The track selection is relatively well spread out over the three albums featured and can be considered as faithful as possible to represent all aspect of the group bar the afore-mentioned Emballade album.
Having played enough in retro, Julverne returned to the roots. The disc "Ne Parlons Pas De Mahleur" is an exemplary example of contemporary chamber music. This time, the "big three" (Gilles, Coulomb, Laurent) worked without regard to someone else's heritage. No variations on a theme, only my own compositions. And who, if not them, knows the recipes for creating new classics. With regard to the instrumental composition, there were no surprises. Old acquaintances Michel Berkman (bassoon, oboe) and Charles Luz (piano) not only sparkled with their performing skills, but also noted for their participation as authors. Other vacant places in the ranks were taken by Claudine Stinake (cello), Jacqueline Rosenfeld (violin, viola) and Andre Klenet (double bass), who worked on the record "Emballade ..." (1983), as well as clarinetist Dirk Deshimaker, gained invaluable experience of cooperation with Univers Zero. At the right moment, Julverne gathered under the roof of the legendary Brussels studio Daylight, where their fourth LP was eventually immortalized...
Written by Jeannot Gilles (violin), the title piece is a key episode of the programme. The polyphonic scope alternates with touching string solos, the gloominess, unusual for the previous creative excursions, is balanced by the nostalgically colored sound of the wind instruments. The dichotomy of light and darkness, the spiritual struggles of the artist find adequate expression in the complex sonic collisions of the 11-minute canvas. A brilliantly embodied construction of a three-dimensional philharmonic plan. The avant-garde opus "Theobald Bœhm" is a figment of the imagination of Pierre Coulomb (flute). In this piece, dedicated to the German composer and innovator in the field of brass, the super-complex vocal parts of Lucy Gramont draw attention to themselves. The synthesis of traditional operatic singing with theatrical modernist recitative technique and solemn chorales makes an indelible impression. Maestro Coulomb's inventiveness is worthy of individual applause. "Catherine En Campine" by Charles Luz is an extremely romanticized study, immersing the listener in a portrait gallery of the nineteenth century with its refined aristocracy and sentimentality. In defiance of the aforementioned fresco, another work by Luz, "Clementine", is turned to face the present. Accentuated piano chords, background "illumination" of strings and extremely curious maneuvers of Deshimaker, in whose amazing possession of the clarinet one can guess admiration for the improvisational art of jazz saxophonists. The unusual textural sketch of "Danse Syldave" gives us a chance to enjoy the magnificent playing of the violist Vita Von De Liszt, who was specially invited to the company by Jeannot Gilles. "Soupe Au Crapaud" Michel Berkman is impregnated with equanimity (with elements of self-irony) and polished elegance of each overtone. Indistinct sadness comes from the laconic number "Le Rose Aux Joues" - fragile and elegant, like Cinderella's crystal slipper. And it must be said that it perfectly sets off the artistic escapades of the final movement called "La Fille Aux Cheveux Gras", in which the gray-bearded classicism is seduced by the charm of minimalist tendencies; very interesting and ambiguous ending of the action. in which gray-bearded classicism is seduced by the charm of minimalist tendencies; very interesting and ambiguous ending of the action. in which gray-bearded classicism is seduced by the charm of minimalist tendencies; very interesting and ambiguous ending of the action.
To summarize: a wonderful release without the slightest bias towards "fatalism", which has exceptional value for a music lover-intellectual. Recommend.
The third work of Julverne is a kind of compromise. Significant tilt aside: from chamber classics to song classics. Frankly, resurrecting retro trends amid the rise of electronics is a bold undertaking. But who does not risk, he does not drink champagne. So, "Emballade ..." can be considered as an original tribute to the stage of the 1900-1930s. Putting aside their own compositional ideas for later, Jean-Paul Laurent (piano), Pierre Coulomb (flute, alto saxophone) and Jeannot Gilles (violin) set about arranging the standards they had selected. In parallel, the process of searching for accompanists was going on. If everything was more or less clear with the string-wind sector, then obvious difficulties were outlined in terms of vocals (I remind you that Julverne is a purely instrumental formation). However, they were also managed to be resolved thanks to the singer Ilona Shale, reciter/choirmaster Michel Moer and backing vocalist Eric Chalet. The other alignment is as follows: Michel Berkman - oboe, bassoon; Claudine Stinake - cello; Luke Bodiuva - clarinet; Jeanine Lontremonge - viola; André Klenet - double bass.
The café-shame program "Emballade ..." opens with Ted Snyder's "Le Sheik". Julverne's unique stylists immerse us in the black and white atmosphere of the early 20th century from the very first bars. With chronicle accuracy, they revive the sound of gramophone records, without betraying themselves in any way. Graceful orchestral filling, Mademoiselle Chalet's high and clear voice, vintage postcards with views of Montmartre... The musical time machine functions without errors and failures, giving the listener a feeling of maximum authenticity of what is happening. Without going too far with the artificial aging of the texture, the Belgian magicians in some completely miraculous way achieve one hundred percent truthfulness in the transfer of nuances. And now the gray-haired good-looking etude "Solace" by Scott Joplin is poured with ripe vital juices, and Arthur Johnston's Broadway melody "Moon Song" finds a second birth in a masterful reading of the newly-minted big band. The salon mazurka "Le Bonheur Des Dames" is perceived as a kind of collective exercise in beauty, while in "Tu Me Plais" by Raoul Moretti, the participants of the action indulge in nostalgia under the shadow of imaginary Parisian boulevards. The sketch of "Long Lost Mamma" by Gerry Woods is imbued with the spirit of natural American Dixieland, and the canonical work "Caravan" by Juan Tizol and Duke Ellington is presented by big-headed artists in a very special way, through an archaic, but absolutely clear prism. Extremely far from avant-garde digressions, cute eccentricities like "Mama Loves Papa ..." make you smile involuntarily; after all, from the refined aesthetes of Julverne it is difficult to expect flirting with pop music, even if it is a century ago. However, you cannot refuse the sincerity of their performance; just look at the sensual fresco "Mejico Tango" to be convinced of this. Joplin's ragtime "Original Rag" is a reference example of a top-notch sonic restoration. And the lyrical finale of "When Lights Are Low" is exquisite as a feast for the eyes.
I summarize: not progressive, and not even rock, but a subtle highly artistic penetration into the era of Chaplin, Gershwin and Francis Scott Fitzgerald.
You had to have a lot of balls to release an album like this in 1983 :-) Delicious little pastiches of the Belle Epoque treated in a jazz swing mode, the 11 tracks on this disc are the soundtrack of a film that exists only in your imagination but which guarantees to make you travel in another time. We are never very far from the complex and avant-garde chamber music of the first two albums but always on a light, spring-like tone. Like a divertimento... Very highly recommended.
Julverne recorded soon a second album, ''A neuf'' at Studio Caramelle with an expanded 10-piece line-up.No Jean Coulon, Richard Rousselet, Anne Denis or Michel Dayez around, instead Pierre Coulon would welcome Michel Berckmans of Univers zéro and Art Zoyd fame on bassoon, Cos' pianist Charles Loos, bassist Jose Bedeur, Baudouin Dehaye on vocals, Philippe Duret on clarinet and Jean-Francois Lacroix on sax.A change of label also occured with Julverne producing their second album on the newly established Crammed label of Cos and Aksak Maboul's composer and leader Marc Hollander.This work came out in 1980.
Again the style of Julverne was an eerie and ethereal Chamber Rock with dominant wind instruments and lots of Classical piano lines, offering music that can be dramatic and positive at the same time.The absence of rock instruments may cause some confusion to the average fan of Progressive Rock or even R.I.O., but the impressive level of individual performances and the intricate compositions are rewarding for fans of Classical and even Fusion music.Julverne's new album has tons of haunting moments with clarinets and saxes in evidence next to melancholic violins and cellos.However there are also plenty of dreamy instrumental parts like performed by a small orchestra, mainly led by elegant flutes and smooth piano.At times the atonal music flirts even with the Avant-Garde fields, but on the whole the pieces performed have a strong 19th century vibe akin to UNIVERS ZERO and ART ZOYD's works.The musicianship is rich and fairly complex as expected, but again some more depth into a slighty rockier approach possibly would have made ''A neuf'' a bit better.
A pure highlight for lovers of Classical Music and Chamber Rock in the vein of UNIVERS ZERO and AFTER CRYING as well as R.I.O. fanatics.But this should be given also a small chance by some more people due to the excellence and professionalism of this ensemble.Warmly recommended.
Ensembles performing a chamber music variation of progressive rock often get compared to Univers Zero and Art Zoyd, but if the list is stretched, Belgians Julverne are likely to find themselves in the number three slot. Taking their name from one of the earliest speculative fiction writers, Julverne peform a classically inspired music, whose (very) occasional tangents into darker territory within this chamber sort of format undoubtedly draw comparisons to their more well known Belgian contemporaries. They included a revolving line up led by flute and sax player Pierre Coulon and violin and trombone player Jeannot Gillis.
In fact, Julverne has shared musicians with Univers Zero, including Dirk Descheemaker and Michel Berckmans. So there is really no surprise that there are similarities in style to both bands. However, Julverne is more like Univers Zero's happier, more cosmopolitan younger brother. The ensemble's first album was released in 1979, and unlike their more aggressive musical brethren, Julverne don't have any drums. In fact, they only seem to be a rock band by comparison, as this truly seems to be a chamber group performing original music with influences of Satie, Bartok, Debussy, and the less dissonant measures of Stravinksy. The instrumentation is typical of chamber music with piano, strings, horns and winds, and these are arranged in many lovely ways over Coulonneux's ten-track duration. In fact, the similarities to Univers Zero and Art Zoyd are largely the musical format, as this is never angry or strident in the least. However, Julverne was certainly considered an experimental band by the musical collective that made it up, and the compositions reflect an exploratory ethic in their use of keys, modes and arrangements. Without getting into music theory, it can still be said that most of the compositions often start out in a fresh and accessible mode before veering off into a tangent belying the 20th Century influences of the band. It's a gorgeous album and rather idiosyncratic, even in comparison to the ensemble's RIO-drafted contemporaries.
A Neuf was an even more mature effort, starting with an ambitious three-piece suite. While Julverne's chamber music approach implies a sort of serious study, musically there were bits of humor sneaking into the compositions nonetheless, such as the second part of the suite, "Un Peu Pretentieux" (A Bit Pretentious). Musically this is also true, with the ensemble's occasional tangents into sly, goofy, or zany territory. One may be listening to some beautiful arranged chamber piece before the whole group speeds off in another direction, as if Bugs Bunny was yet again leading Elmer Fudd off on another wild goose chase. In fact, if anything sets apart Julverne from cousins Univers Zero, it's this omnipresent playfulness. Only a group of skilled musicians and composers could pull off such a thing in such complex and involved compositions. Not a piece of music is anything but entertaining here, rich in ideas, spontaneity, dynamic diversity and mood. Perhaps it's more a tribute to such classy music that Julverne finds itself in such company with bands like Univers Zero in Belgium's most interesting lineage of experimental chamber music ensembles.
While the first two albums by Julverne might be considered the formative work of the ensemble, the band would release two more albums, 1983's Emballade and 1986's Ne Parlons Pas de Mahleur, before dissolving. In 1992, the Igloo label would release a retrospective of these albums (Le Retour du Captain Nemo) including a great deal of music from the early albums.
If one was to draw a map of the Belgium prog scene (outside of the symphonic current) , all period considered and all currents considered (Zeuhl, Canterbury , RIO , Avant-prog , jazz-rock all fitting into what is called CHAMBER ROCK – but I choose to call it Chamber prog , because some of those bands are not really rock anymore) , then JULVERNE would likely be right in the centre of the story. All musicians have a link with all major bands from that small surrealist country where culture is the main gathering force but also the main dividing rift between the two major communities of the land. Members of JULVERNE have played or will play in UNIVERS ZERO , PRESENT , AKSAK MABOUL , X-LEGGED SALLY , COS , CRO-MAGNON , etc.. The group started as a bunch of music classical students wanting to reinvent the classical chamber orchestra by adding a bit of a rock twist although this will remain very discreet. But on the mood spectrum I would place them on the opposite scale of Univers Zero, the first being the extra joyful joie de vivre as opposed to the dark and lugubrious underworld of UZ. The first album actually was the oeuvre of Pierre Coulon , but the next two albums were also quite interesting as En Ballade stands a bit apart from the rest of their discography often digressing into jazzier terrain and some vocals. They recorded a last album in 86, and nothing (apart from a compilation album in 92) was heard of them until the turn of the century when they reconvened for another album celebrating the renovation of a spectacular building in Brussels that has remained open to public for exactly four hours before being closed for obscene bas-relief. Did you say Belgian surrealism?
"Coulonneux" the debut album of JULVERNE it's one of the lost jewels of the 70's, a very soft RIO, very different to Samla Mammas Manna, Henry Cow or Art Zoyd, a little bit of Opus Avantra maybe. 10 instrumental songs, none of them hard or speed, only quiet and soft songs. the RIO scene in Europe in the last years of the 70's decade, it's very wide, and we can find a lot of albums very similar or very differents for each other. if you're a hugh fan of the classic bands of RIO, you can't miss the oportunity to listen this wonderful album. it's brilliant, one of the better works in the genre. i'm listening to ths album (for the first time in my life) right now, and i had to say, that i already love it.
A refreshing take on the then-nascent chamber-prog scene. Instead of sounding dark and oppressive like Univers Zero, Julverne sound light and free. Unfortunately, since we tend to associate "angst ridden" with "cool," I suspect that Julverne's approach will not be immediately appreciated by most "hipsters" in their never-ending search for new music that will impress their friends (To be fair, I also found Julverne too cheerful at first). However, for those willing to give this disc the repeated listens that it requires, a surprising amount of depth is revealed, and the "cheerful" exterior begins to show clear moments of tension, longing, and even fear. As well as beauty.
- Ballet Pro Arte Live at Elizabethzaal in Antwerpen ( March 3, 1979 ) -
08. Ouverture for Dance (3:27)
09. Considering a Movement (4:45)
10. Boehme (4:12)
11. Babel (4:12)
- Cos Trio Live at Pavillon, Hannover (1981) -
12. Amafam (5:24)
13. Nog Verder (2:12)
14. Nacht in Hannover (2:57)
Pascale Son / vocals, oboe (9,10)
Daniel Schell / guitar, Chapman Stick (12-14)
Marc Hollander / organ, alto & soprano saxophones (4,7)
Alain Goutier / bass
Philippe Allaert / drums, percussion
With:
Nicolas Fiszman / guitar & bass (12-14)
Charles Loos / organ & piano (1-3,5,8-11)
François Cahen / piano (2)
Marc Moulin / organ (6)
Dick Bogaert / soprano flute, vocals
Third album from Cos and friends (which include Magma's François "Faton" Cahen, Charles Loos, Placebo's Marc Moulin, Pazop's Patrick Cogneaux and Dirk Bogaert from Waterloo & Pazop and others), and unfortunately a fairly rare album even if there is a reissue with Belle Antique. With the line-up remaining fairly constant, the album is also still sounding very much like the first two, even if Babel is driven by a funky bass, which can give a slight disco twist, but rest assured that this is only an impression, because the rhythms are still quite complex. The artwork is the group on Ostende's beachfront on the North Sea.
After a funky (a tad disco-ish) title track where Loos' piano reigns with Pascale Son's ever-marvellous scats, Good Wind is a much more reflective mood with Schell's guitars bouncing off Son's oboe on Cahen's keyboards. Obviously Cha Cha Cha is a dedicated track to the dance, but this is a very much an unusual almost cool-jazz version, which saves it (I am not a fan of the 20's music scenes) from complete disaster and the track gradually builds up to a very funky Caribbean end. This is almost the same Caribbean feel that dominates the start of Mein Maschine Is Schön (my machine is neat) where they manage to fuse Caribbean rhythms with the almost-grotesque Oktoberfest music from southern-Germany folklore. While interesting on a few listens, I must say that this track with its 8-min+ does overstay its welcome a bit.
The flipside starts with Sors Ton Petard (draw your gun or doobie) where Pascale Son's scatting over Goutier's funky bass are the features. Ostende is a short ambiance piece inspired by the city's beachfront with Placebo's Marc Moulin on organ, Schell's delicate guitar beddings and it ends gently on sea waves noises. The album ends on the lengthy Greeneldo, with Goutier's funky bass again leading, but Allearts' constant drum shifts and rolls make sure that the listeners stay alert (despite that disco-ish beat) and Son, Hollander and Schell are trading wind instrument licks over dreamy ethereal voices.
The Belle Antique label mini-Lp remaster comes with a bunch of bonus tracks, the first four coming from a '79 ballet recorded live in Antwerp where the group (same line-up as for Babel) provided some music that is quite Cos-esque and quite frankly fairly similar to Babel despite being a tad more experimental. Can't say that the recording is spotless, far from it (especially Pascale's ultra-high wailings), but the crescendoing Overture and the nearly RIO vocals of Considering A Movement are an exceptional addition to the original album, as are the very reedy Boehme and the great live version of the Babel album title track. The next three tracks come from a Cos Trio formula - with Schell and Allaerts and Fiszman on bass ? recorded live in 81 (so after the bad Chalet album's release), but if quite interesting (returning to a more experimental music), these are very different sounding (there is a Crimson edge to Viva Boma's Amafam and a Santana edge for Nog Verder live tracks) than the Babel album on which they sit on, thus it is harder to keep its new unity.
While Babel is still a very worthy album (despite the odd disco/funk beats), you can feel that the group is sort of freewheeling it, gliding effortlessly, surfing on their talents, just content to make good albums without over-reaching themselves. And good, Babel is certainly, but it doesn't present Viva Boma's greatness or bears the surprises that Postaeolian Train Robbery did. Still very worthy and now available with those bonus on the Belle Antique label.
Another fine album from Cos, again with the vocals of Pascale Son proving a particular treat. Once again, the album is firmly rooted in the Canterbury tradition, particularly in the use of voice as a musical instrument (reminiscent both of the work of Robert Wyatt and Hatfield and the North's Northettes). Driving, martial, almost zeuhlish rhythms creep in here and there and Daniel Schell's adept guitar work proves to be another highlight. There's not much to choose from between the first three Cos albums, to be honest - if you like one, you'll probably like the others just as much. A consistently entertaining listen.
With this second album, Cos still has half of Belgium laughing because of the artwork depicting Flemish grandmas. Although Loos was gone by this time, he is replaced by Marc Hollander (future Aksak Maboul) and Lonneux (ex-Recreation) takes the drum stool, but Dartsch still participates to the album. Then feeling is even more Canterbury-esque and the progression from the debut album is awesome. Marc Moulin (from the then-defunct Placebo) is the producer of the album and also contributes some killer Fender Rhodes on two tracks.
Opening electronic pulses will startle you if you were familiar with other Cos works, but this is a very brief moment, but another surprise awaits you on the following title track with its African percussions. Further Still (Nog Verder ) is a splendid slow Fender Rhodes-based track soon picking pace to end-up like a Weather Report-like funk. Boehme just funks along with sometimes-weird KB sounds startling you. The first side closes with the lenghty Flamboya, with Pascale Son making sweet love to Moulin's moog and Hollander's Rhodes, and soon the fuzzy keys send you flying across the channel to the Kent County. Clearly the first side's highlight, this track holds some of the best Wyatt-like scatting I have heard outside himself.
Son's opening Arabic influenced-vocals are a startling wake-up-and-pay-attention call especially when Schell pulls in one of those mystical Santana-like guitar solo just after it. The lenghty Idiot Leon is the cornerstone of the album with its fuzzy organ (David Sinclair-like) and weird quacking noises and a blistering Schell solo and wind instruments interventions. Closer Ixelles is a slow ode to the city where I was born some 13 years sooner and is probably my fave from the vinyl, but I can only be partial.
The four bonus tracks are excellent and great interest, especially a very different (and better) Nog Verder than the album version with its obvious Stella Vander-like vocals and Zeuhl-esque keyboards. A real touch of class!! But the other three were tracks that did not make the cut when the album was released. I can imagine how some choices can be painful.
The only regret I have is that Son's lyrics (actually Schell's) are not printed on the Musea first issue. As this album got a re-released from Musea in early 2006, one can hope that this will be amended. Nevermind the details, we are again looking at a splendid album that typifies the 70's Belgian scene much better than the mediocre Machiavel. Owning this album is one of the requisite to being a happy proghead and only the ones who do not know this cannot understand.
Another strong album from Cos, taking a gentle, laid back approach to the Canterbury style with the occasional outbreak of martial, Zeuhl-like rhythms. A little more experimental in its compositional approach than the previous album, there's points which remind me of early Henry Cow too, so RIO fans who like a bit of Canterbury could do a lot worse than checking this one out. Once again, the vocals of Pascale Son enhance the music appreciably, whilst band leader Daniel Schell's guitar work is particularly diverting at points. One to listen to if you want some Canterbury whimsy but at the same time are in the mood for something more tranquil and relaxing than most Canterbury bands.
- Daniel Schell / guitar, flute & sound effects (1-7)
- Charles Loos / keyboards (1-7), piano (7')
- Alain Goutier / bass (1-7)
- Robert Dartsch / drums (1-7)
- Steve Leduc / percussion (1-7)
- Adrian Stoop / introduction voice (1)
With (Classroom) :
- Jean-Paul Musette / bass (7'-10)
- Jean-Luc Van Lommel / drums (7')
- Robert Pernet / drums (8-10)
- Jean-Pierre Destrée / vibes (8-10)
Cos came to be from the ashes of Classroom which had never released an album but they had recorded a few tracks (they are presented as bonus tracks to the first Cos album. Led by Daniel Schell and incorporating Charles Loos and especially angel-voiced Pascale Son, this group will release a bunch of absolute little wonders that every proghead must hear, even more so if you are into Canterbury music. This album was first on the ultra-small Plus label in late 74 in a red and yellow gatefold artwork, with a limited amount of copies, thus making it an ultra-mega-rare vinyl artefact. It would later get another release on EMI with the B&W picture artwork that you probably know from the Musea release.
Right from the opening title track, with Cos introducing themselves to you with all the fresh weirdness that only Belgian groups can, and Son's great wind instruments taking over right after it, you know you are in for a real treat. And plunge you in their world, they do, but I must warn you that there might not be a way out, not that you would ever want to exit this maze after getting trapped into it. Yes, fellow progheads, I said trapped!! Because Cos and I will leave you no chance to escape their kingdom of pure musical exhilaration. Oh, I will take no great part in this feat, but I will bait you enough with this review, that the only thing you will have to do is actually listen to the album and Cos will do the rest themselves. Hey Daniel don't forget the envelope with the unmarked used bills ;-))) I just wish!!!
Cocalnut is a slow developer but behind Pascale Son's moanings (and then superb scattings) the group is building a solid foundation with Loos's piano taking the spotlight from the background, and Schell pulling an excellent solo, but this is Son's moments. Her ability to use her voice as an instrument is simply astounding ranging from Wyatt to Kate Bush to operatic influences or even more like Barb Gaskin or Amanda Parsons in National Health (but preceding them by three or four years). Solo Vander-like drumming starts the third track, but this is only a starter as a Ratledge-like piano and a solid bass line are one the menu. Son's scatting is again at the centre of the group's success.
The funkier and jazzy Populi is a welcome interlude being a bit upbeat and tighter. Halucal is a short instrumental (even Pascale's voice needs a rest although she contributes winds) and is build on the Fender Rhodes. Coloc is a great closer with Loos in a lenghty solo, slowly being joined by a fuzzy bass (Hugh Hopper is not far) and then Son's superb voice meandering between clouds, sun and lightning and again Loos's fuzzy organs (sometimes Caravan meeting Mahavishnu or even the mystic Caravanserai) >>>> Awesome AND grandiose!!!!
Classroom's demo tracks (recorded for a possible CBS contract) are included as bonus tracks are just as worthy as the album and make this record an excellent value. The main difference (outside a very different line-up and a very present vibraphone) is that Pascale vocals have actually lyrics, and her singing-words are just as impressive as her scatting. La Partie D'Echecs is hilarious as she tells us that the white pawn of the chess game is lifting her dress and the vile bishop slayed her, the whole thing sung at such breakneck speed that one would've wondered if their 33 RPM was not spinning on 45 RPM (had this been ever released at the time of course). There are also some subtle Zeuhl influences in their music as they shared (as Classroom) stages with Placebo, Univers Zero, Zao and Magma. Sur Deux is a great instrumental concentrating on vibes and guitars. Achille is a rather lenghty but impressive exercise for Pascale and the vibraphone to make love to each other sonically.
Musea made a great job of reconstructing the group's history (if you'll forget that Karbok track omission) and with this album hold one of their greater achievements, the preservation of Cos' early works. However, it's just too bad that they chose to reissue the album without the original red and yellow artwork on the Plus label. This is truly of one those albums that define Belgian prog and it should belong in everyone's collection alongside Hatfield.
A remarkably confident debut album from Cos, displaying a Canterbury sound strongly influenced by the whimsical and experimental spirits of Frank Zappa's Uncle Meat-era material and the early Soft Machine albums, and also displaying a certain tendency towards lighter, airy material of the sort Hatfield and the North were dabbling with at the time. Like the Hatfields, Zappa, and Robert Wyatt, the band clearly believe in the potential of the human voice as a musical instrument, and so vocalist Pascale Son's exceptional talents are put to fine use. Her command of her vocal abilities is impressive, as is the wisdom of her decision not to mimic the usual Wyatt-inspired aaah-aaah-aaahs of typical Canterbury fare but to plunge into her own crazed tangent. Very much worth a listen for Canterbury fans.
