RALPH LUNDSTEN
from EMS to Andromeda
the early works of Ralphus Rex

by Alan Freeman.

Ralph Lundsten is one of those enigmatic characters in new-music, in that he's pushed-on with his unique avenue in music regardless of style, fashion, or even a logical progression in his own career. He's an explorer, an eccentric, an individual unique talent. The thing is, though, that when someone follows their own vision, that vision will change throughout their life based, not only on the advancements in technology, but also on their state of mind, emotional and social development. Thus, as with the music of Tangerine Dream, what Edgar Froese & Co. played in their early days is nothing like what they do now. This is also the case with Ralph, and (similarly) what we're interested in at Audion is the early works of Ralph Lundsten, the avant-gardist...
Ralph Lundsten was born 1936 in Ersnäs, Sweden. At a young age he started exploring the avant-garde, and was obviously fascinated with the new technology installed at the Stockholm Electronic Music Studios (aka EMS). He started electronic sound exploration in 1959, and found an aid in Leo Nilsson, with whom he collaborated for a number of years. These formative experiments involved use of oscillators, early studio-based synthesizers, along with extensive use of tape-collage and echo/delay techniques. Also, (quoting original LP cover notes) Ralph "became famous as a visually creative artist through his prize-winning motion pictures, his noted exhibitions at home and abroad, and his exciting experiments with electronic pictures and sound sculptures" - yes, Ralph proved to be a man of many talents!
It didn't take long for Ralph to discover unique techniques instantly recognisable as his, these involved clusters and patterns of notes/tones, seemingly sequenced or looped, all in a very odd, quirky style. Based on early studio photos all this was done with tape trickery using a hybrid of musique-concrete and Terry Riley type "feed-back" or "Frippertronic" techniques. Nowadays a similar effect can be achieved using a digital pitch-shift delay in tandem with other echo and delay devices, but to create the complexities of what Ralph Lundsten did in the 1960's is still not easy. And, to do it with his unique panache is nigh-on impossible! Back then digital effects didn't exist, and even solid-state echo devices were rare. So, the mind boggles as to how he did it. A clue is probably given on an LP cover, where he is holding two Stylophone type pens over (and connected to) some sort of metal transducing plate. I can imagine that many of the early works took weeks and weeks of intensive studio work, experimenting with and modelling waveforms, cutting and splicing tape, setting-up tape decks with extra record and play-back heads, passing the sounds back and forth through all sorts of filters reverb, and obscure processing devices, etc., etc. Actually, it seems he was spending too much time in the EMS (Stockholm was a prolific centre for new avant-garde talent), so Ralph set up the first independent electronic music studio in Sweden. He built his Andromeda Studio at his home (a fanciful painted wooden house) in Saltsjö-Boo near the coast, east of Stockholm. There he could spend as much time as he liked experimenting and recording, developing the unique Lundsten sound.

The majority of Ralph's early recordings (1964-73, plus a few later works) are now documented in the 4CD set ELEKTRONISK MUSIK. In this set we have what would amount to around seven vinyl LP's worth of material, and thus it's a great value introduction.
Each disc has a focus...
ELEKTRONISK MUSIK (ACD 27) 76'30
This explores most of the purely electronic creations (some with Leo Nilsson) from the period 1968-70. These are works with buzzing tones, rasping modulations, and stark non-melodic textures. The opening Through A Landscape Of Mirrors is one of Ralph's coldest, brutal works. It slices through the stereo fabric, and plays a surreal dance in the air. Sonically comparable to the early works of Morton Subotnick, this 1970 work is purely Ralph Lundsten in the bizarre use of tone and sound patterns. The TELLUS/FÅGEL BLÅ LP is documented next. In these works Leo's more conventional use of electronic sound counterpoints the underlying cheekiness of Ralph's "springy" looping effects. Whenever I listen to this, I'm reminded of Louis & Bebe Baron's "Forbidden Planet" soundtrack, but it has the form of progression closer to Conrad Schnitzler's ROT. For 1968-69 this is pretty remarkable and innovative stuff, bleak but vivid in sonic textures. Also aptly cold is the 4 part Vintermusik a mini-prelude to Ralph's later "Nature Symphonies", followed by the 1968 Lundsten & Nilsson single Feel/It which is pretty close to some Pierre Henry (from the same period), and Mizar a solo Lundsten work involving strange oscillator tones and sonic intermodulations.
ELEKTRONISK MUSIK (ACD 28) 77'37
Apart from the opening EMS Nr 1 this disc is made up of shorter works and suites. I'd long wanted to hear the "innovative" EMS Nr 1 from 1966, and I wasn't disappointed. It has to be the most extreme and intense of his creations. Five other collaborations with Leo follow this, and all are strange spooky stuff, ideal music for weird psychedelic or Science Fiction movies. The earliest work in the set Atomic Twilight (1964) is very "Forbidden Planet" with its gliding tonalities (at the opening) building into a cyclical montage of instrumental sounds and voices. In later times Ralph got involved in scoring ballets for various people, and purely for fun he did the little suite På Vigliga Tår "On Tottering Toes" the first piece in the set to really show the underlying humour in Ralph's music. Finally, the "Suite For Electronic Accordion" takes us closer to Pierre Henry's darker works of the era, but due to the unlikely instrumentation it remains bizarre and unique.
ELEKTRONISK BALLETTMUSIK (ACD 29) 77'41
So, onto Ralph's ballet scores, the commissioned works that further stylised Ralph's musical development. These are the material that correlate more with those of Igor Wakhevitch (see Audion #40) notably as some are compositions for Carolyn Carlson, and she obviously knew exactly what sort of feel she wanted. This is a uniquely visionary style of Ralph's, in that he includes story elements of the works in the music, adding to the drama by sound association and mood. In "Erik XIV" Ralph's bizarre use of electronic looping is developed to great effect - a major development in the distinctive Lundsten sound - with the textural elements gaining in complexity. With "Gustav III" keyboards and other instruments feature much more extensively. I suppose this period can be seen as the transitional phase of Ralph the avant-garde experimentalist to Ralph the musician. It's still rather strange stuff, however! The lone track Ristingar "Rock Carvings" centres on cosmic flutes (and unfathomable instrumental textures), and counterpoints a strange rhythmic element, before it flutters off with serene voices. 1973's "Gunnar pa Linderände" works on elements of the previous ballet scores and also his other major work (not featured in this set) FADERVAR. It's a really creative and beautiful opus that can almost be experienced as a musical painting.
HORRORSCOPE (ACD 30) 76'17
This is also, largely, commissioned works, but with the focus on Ralph's "Horror Music". This disc starts with the rather out-of-place 1979 track Horrorscope, a groovy kind of synth-funk number dosed with horror sound effects (in the vein of the tongue-in-cheek DISCOPHRENIA). The major works here are surreal spooky suite "Midnattstimmen" full of creaking doors, ghoulish voices and all sorts of weird electronic textures, one of my favourites, and the great opus Nattmara which ends the set with crazed electronic abandon. The other pieces here are oddments from various vinyl releases, largely strange stuff, excepting the "Heaven By Night" trilogy which is more
sci-fi/fantasy, and the cosmic synth Waves Of Darkness from 1983.
In all, an excellent set, but with one major omission: the classic Cosmic Love, which doesn't seem to be documented on CD presently.
Above I mentioned FADERVAR, a classic of Ralph's from 1972. Various CD reissues have appeared to date, but the only ones I've been able to get are unfortunately co-billed with another work of inferior calibre. A strange one really, in that it's subject matter (FADERVAR means "Our Father" and relates to the "Lord's Prayer") is not really of any interest to me. But, like many Pierre Henry works (for instance) the concept can be taken as superficial. Judging it as just music, it's a cosmic opus of breathtaking originality, featuring ethereal flutes, otherworldly chanting echoed voices, organ, and lots of those uniquely Lundsten trade-marks, like sonic/textural transmutations, and brilliant use of echo/delay and cyclical patterns.
Ralph Lundsten's "Nature Symphonies" started as two album-long suites made in 1972 and 1975. Based on mythological fantasy and a relation between Ralph's music and the sounds of nature, these are very complex, feature guest musicians, and are more "musical" than much of what I've described before. It all amounts to a fascinating cross-pollination of genres. The CD release JOHANNES & HULDRAN/STRÖMKARLEN unfortunately omits a few tracks from these (3 are included in the ELEKTRONISK MUSIK set). Later "Nature Symphonies" would seem to be a cash-in on this "franchise" but bear little relation to the 70's pioneering works.
As polyphonic keyboards came in and Ralph's Andromeda studio became more advanced, he increasingly worked with other musicians, played synthesizers, and gradually moved away from the bizarre studio techniques that made his early work so special. He established a supersession group: Ralph Lundsten's Universe, who were (in a way) his "Cosmic Jokers", stars of Swedish rock, jazz and pop, doing something more outlandish. The album RALPH LUNDSTEN'S UNIVERSE is still not bad, in it's mixture of electronic music, progressive rock and fusions, and (occasional) craziness. It's follow-up DISCOPHRENIA was much better than the title suggested, but proved (from my viewpoint, that is) that the classic era of Ralph Lundsten was over. The third "Universe" project ALPHA RALPHA BOULEVARD marked the end of the 70's, and a new phase.
Ralph has since become the purveyor of lush and atmospheric new-age musics, and has increasingly created a whole new genre of his own again, a kind of offbeat easy listening music, often very sweet and soundtrack-like. Apparently he's quite famous in his homeland now for these later works, and apart from still being prolific and highly active in music, he tends to turn-out rehashed samplers by the bucket-load!



edited from AUDION #43. Autumn 2000

Zeuhl part 3, from Audion magazine

As I am just about to upload the excellent Orient-Express "Cocktail Molotov" release on Bandcamp (the 50 copy CDR edition is now sold-out), I was also figuring out ways to include the CD-rom material I put on the disc so it can be added to the download. Basically, the reviews and articles had to be downgraded to text files, so I thought - how about including the Audion 43 Zeuhl article on here as well? So, here goes...

The French Zeuhl legacy

Important - as Zeuhl is such an abstract concept, and not the easiest of "categories" to define, we strongly recommend that before reading this article you should check out the previous Zeuhl articles in Audion #41 and #42! Then, hopefully, it should all make sense!

We usually associate a musical stylism with a fashion, and often with the history, musical heritage and culture of a country, or more obviously just by its language. But, none of that has never been the case with Zeuhl. It is a genre that is devoid of any definable cultural reference. It pretty much happened by accident, experimentation, and the drawing-in of unlikely musics (all together) to make something new. It may seem bizarre (and unlikely), but it is possible to create something new that is identifiable with a Country, though this is all the more bizarre with Zeuhl, where the language and influences behind the musical genre are actually alien to the national culture itself. Zeuhl, taking its pointers from the pioneering work of Magma and its offshoots, became a new musical idiom, identifiable as, but not typically, French. Of course, as is always the case, no one in France realised this scene existed, until some journalist gave it a name!

The results of opening the doors to a new form of expression, saw an onslaught of new bands intent on exploring the genre further. Some just copied their mentors, others took the initiative to explore further, swelling the concept of Zeuhl, encompassing a wider range of musics. The edges of the genre have blurred ever since, with more conventional rock and jazz, and also melded seemlessly into the (also almost indescribable) field of "neo-chamber" RIO musics as explored by bands like Art Zoyd or Univers Zero. But, that's another story. In this article I'll try to give you all a run-down on 33 of the many different French bands and artists that swelled the ranks of Zeuhl and related musics...

Abus Dangereux
On the borderline of Zeuhl, this jazz-rock band (later known as just: Abus) fronted by guitarist Pierre Jean Gaucher took the funky Magma sound of the late-70's and mixed it with more typical French jazz-fusion. Abus Dangereux's music will appeal to those into jazz more than experimental/progressive sounds.
LE QUATRIÈME MOUVEMENT (LP: AJ Records 3021) 12/79 © 1980
BIS (LP: Eleanore EL 31482) 2/82 © 1982
HAPPY FRENCH BAND (LP: Metro JB 105) 9-10/83 © 1983
LIVE (LP: Metro JB 106) © 1985
JAZZ 'N' ROLL (LP/CD: Metro JB 107) © 1986
Pierre Jean Gaucher (guitars), Eric Bono (pianos, synthesizers), Laurent Kzrewina (saxes), Alain Mourey (drums), Pascal Gaillard (bass), Sylvie Voise (voice), Caitriona Walsia (voice), Dan Ken (vibes), Armaud Jarlan (percussion), Nigel Warren Green (cello)

Altaïs
Amongst the later wave of Zeuhl acts these were one that caught much international attention at the time. This was obviously because their EP was wholly derivative of Magma, right down to the non-specific language male/female vocals, clunky drums and bass. Their main originality came from the dual synthesizers, stepping beyond Eskaton, and a hint of post-punk aggression. An amusing point is that some of the vocals (penned in their own make-believe language) can sound really funny to English ears!
Altaïs/Promenade.../Gravitation Zero (12" EP: Altaïs 1021) © 1986
Sandrine Fougère (vocals), Philippe Goudier (vocals, percussion), Patrick Joliot (drums, percussion), Isabelle Nuffer (vocals, piano, synthesizer), Michelle Puttland (synthesizer), Jean-Marie Sadot (bass)

Michel Altmeyer & Troll
Existing since the early-70's Troll remained pretty much a "second circuit" band throughout their history, although they could arguably be claimed as influential and seminal. Their original album is pretty obscure, but at that time they featured the Genesis inspired guitarist Jean-Pascal Boffo, so it may not have been Zeuhl at all. The only actual Troll recordings I've heard are by later incarnations of the band. Over the years numerous versions of Troll existed, many including musicians from the Magma family. Eventually though, only Michel remained from the original band, and so the album issued by Musea was put out under his name.
TROLL (LP) © 19??
TROLL, VOL. 2 (LP: Musea FGBG 2010) 11/86+12/87 © 1988
Michel Altmayer (drums, keyboards, vocals, bass), + Bernard Paganotti, Francis Moze, Stella Vander, Guy Khalifa, Klaus Blasquiz (all from Magma), Yvon and Alain Guillard (ex-Weidorje), and others.

Archaïa
Although really avid fans of Magma, Archaïa were surprisingly not always Zeuhl per-se, as they had a lot of other influences, and a great deal in the way of their own originality. They had the chants and rhythmic elements down to a tee (similar to a British band of that era: Metabolist), but mixed in all sorts of weird ideas. Their use of electronics lent comparisons to Heldon, Zed, Arachnoid or Eskaton. Their self produced album amounted to "a must" for fans of the more outlandish end of the Zeuhl genre.
ARCHAÏA (LP: Archaïa 77.976) 8/77 © 1977 (CD: Soleil Zeuhl 01) «3 bonus tracks» © 1998
Pierrick Le Bras (guitar, keyboards, vocals), Michel Munier (bass), Philippe Bersan (vocals, keyboards, percussion)

Bedjabetch
Bedjabetch played a lively jazzy instrumental rock with unique style, notably with hints of ZAO, and more typical French space-prog elements (i.e. Gong, Clearlight, Neo, etc.) comparable to Joël Dugrenot's solo work.
SUBREPTICEMENT (LP: AWA BB 006) © 1979

Serge Bringolf & Strave
Reputedly at one time involved in Magma (though I have no firm evidence to support it) drummer Bringolf was as much musically inspired by classic (late-60's/early-70's) Miles Davis. The brassy jazz feel of the debut double was obviously a dedication to Magma, though its focus and funky late-70's Zeuhl edge made it different. Increasingly, with each album, the Strave sound developed. This was in part down to guitarist Alain Eckert (also of Art Zoyd) and a more robust rocky sound. All their releases are pretty obscure.
STRAVE (2LP: Omega Studio OM 67016) © 1980
VISION (LP: Omega Studio OM 67028) 7/81 © 1981
AGBOVILLE (LP: Omega Studio OM 67044) © 1983
LIVE (LP: RBO R 1.383 D) 26/3/82 © 1983
Serge Bringolf (drums), Philippe Geiss (sax), D. Petithory (trumpet), B. Eck (tuba), Alain Eckert (guitar), Claude Boussard (bass), Mano Kuhn (vocals), Alain Lecointe (bass), Emmanuel Séjourné (vibes), Francis Bourrec (sax), Thierry Eckert (bass), etc.

André Ceccarelli
A jazz-funk artist who flirted with Zeuhl stylisms in the late-70's, he also guested with other fringe Zeuhl inspired bands. He's also well-known as a session musician.
CECCARELLI (LP: Carla CAR 500.002) © 1977

Clystere
Not strictly Zeuhl, but related, Clystere were a free-form guitar and bass duo stepping beyond the weirder creations of Jannick Top, and were related to Shub Niggurath and Sleaze Art.
DAEMONI, ETIAM VERA DICENTI, NON EST CREDENUM (MC: Clystere) © 1987
Frank W. Fromy (guitar), Kaspar T. Toeplitz (bass)

Dün
As much a mixture of other fusions as Zeuhl, Dün will however please many into the genre. A full review of the CD reissue will be found elsewhere in this issue.
EROS (LP: Sabathé SAB 001) © 1981 (CD: Soleil Atreides 03) «4 bonus tracks» © 2000
Laurent Bertaud (drums), Jean Geeraerts (guitars), Bruno Sabathé (piano, synthesizer), Pascal Vandenbulke (flutes), Alain Termol (percussion), Thierry Tranchant (bass)

Eider Stellaire
Originally known as "Astarte" in the 1970's, these started as an avant-garde form of Zeuhl, becoming Eider Stellaire when drummer Michel Le Bars took over the band. He obviously modelled himself on Christian Vander, taking over the band, and conceived a new twist on the Zeuhl model.
Expanding to seven piece, and in parallel to Shub Niggurath (some members worked in both bands) they achieved a debut that was hailed as "the Magma album that Magma never quite made". Magma did hint at this with Mekanik Zain or De Futura, but Eider Stellaire had a real mean guitarist with the precision and fire of John McLaughlin. Furiously creative, thunderous (i.e. with brilliant high-power riffing) and with dual female vocals (wordless), it's all a mixture of dazzling solos and mad frenzy! For one brilliant album at least, Eider Stellaire were the monsters of Zeuhl. It' a shame that the album remains so obscure.
As we know from experience, nearly all bands that burn so brightly on their debut dwindle afterwards, and their untitled second LP was extremely mellow and languorous in comparison. More original and more avant-garde, maybe, but less cohesive or gripping. With their third album, a step back to the rocky Zeuhl sound, fronted again by Delchat's guitar, they were getting there, but (so I gather) the band split-up before the album was finished.
EIDER STELLAIRE (LP: K001) 5/81 © 1981
EIDER STELLAIRE (LP: K002) © 1986
EIDER STELLAIRE 3 (LP: Musea FGBG 2009) © 1988
Jean-Claude Delachat (guitar), Patrick Singery (bass), Pierre Gerard-Hirne (piano, organ), Michel Le Bars (drums), Véreonique Perrault (electric piano), Franck Coullaud (percussion), Isabelle Nuffer (electric piano), TRX5 (bugle), etc., and guests.

Eskaton
One of the first non Magma related Zeuhl acts to make a big impression, Eskaton genuinely struck out with a new angle on the genre on their debut EP, crossing the Magma KÖHNTARKÖSZ sound with a fiery almost ritualistic music. The dual female vocals, multi-keyboards and sizzling guitar, all made for a complex and distinctive sound. Especially evident was the fact that Eskaton kept pushing on in their own direction, becoming more electronic and less Zeuhl on 1982's FICTION. The band kept on well into the late-80's, recording a further album in 1985 called I CARE. This remains unreleased!
Le Chant De Terre/If (7": MPA E 01) 4/79 © 1979
ARDEUR (LP: MPA E 38001) 8/80 © 1980
4 VISIONS (MC: Eurock EDC 05) 1979 © 1981 (CD: APM 9511) «1 bonus track» © 1995
FICTION (LP: MPA E 38301) 9/82 © 1983
André Bernardi (bass), Gérard Konig (drums), Alain Blésing (guitar), Gilles Rozenberg (guitar, organ, synthesizer), Eric Guillaume (electric piano), Marc Rozenberg (vocals, piano, synthesizer), Paule Kleynaert (vocals), Amara Tahir (vocals), plus guests.

Frank W. Fromy
The bassist from Shub Niggurath, Frank attempted to push Zeuhl elements into the classical avant-garde, coming up with something quite austere and strange, and totally unclassifiable.
QUATRE AXES MUTANTS (LP: Musea Parallèle MP 5002) © 1989
Lucie Ferrandon (voice), Marie Faure (piano), Marie-Pascale Jallot (viola), Danièle Dumas (soprano sax), Sylvie Jerusalem (tuba), Pierre Quesnay (bass), Pierre G. Monteil (bass), Alain Ballaud (bass), Alain Mouray (drums, percussion), Laurence Kopelovitch (voice), Frank W. Fromy (voice, effects), Claire Dixmier (alto sax), Bernard Guerin (baritone sax), Guillaume Wapoel (viola), Françoise Sachse (viola), Sylvain Dupasquier (cello)

Hiatus
One of those strange hybrids between experimental jazz and more progressive rock-fusions, their LP was later reissued by Cryonic (home to Art Zoyd and others at the time) and fits-in quite well, though it is much jazzier and only has marginal Zeuhl elements.
AVANT-DEMAIN (LP: HI 5893) © 1984
Stéphane Deschamps (keyboards), Abdoulaye Fall (tenor sax), Pascal Gutman (bass), Franck Marsicano (guitar), Jean-François Riviere (drums)

Honeyelk
Right down to mock "Kobian" vocals, Honeyelk were adept explorers of the Kobaia to Wurdah Ïtah era Magma sound, with good clunky bass, multi-winds and keyboards, a nice jazzy concoction (but not jazz-rock) with strange use of rhythm and form. They made the one low-budget self-produced album that has a unique charm and style.
By 1979, however, they'd had plenty of time to get it together, with their history stretching back to pop bands in the 60's, and having attempted to make a break in England on numerous occasions, their music also drew in Canterbury/British prog-rock influences (notable on the CD bonus material), amounting to a unique mix of styles that go a lot wider ranging than Zeuhl per-se.
STOYZ VI DOZÉVÉLOY (LP:Oxygene OXY 047) 9/79 © 1980 - reissued as: EN QUÊTE D'UN MONDE MEILLEUR... (CD: Musea FGBG 4153.AR) «4 bonus tracks» © 1995
William Grandordy (pianos, synthesizers), Gérard Blanc (bass, vocals), Pierre Yves Maury (clarinet, tenor sax), Christian Blanc (drums, percussion, vocals), Frank Louisolo (guitars)

Mosaic
Not so much Zeuhl, although that's where their roots were, earlier spelling their name in "Kobian" style Mozaïk. These were one of the really creative underground bands, that by the time they managed to release an LP had changed and developed their own unique style of music. All the Zeuhl elements were in their music, but totally transformed into something new. They had that weirdo proto new-wave edge (akin to Archaïa) with Jannick Top (cum Hugh Hopper) type fuzz bass work, and an intensive almost Henry Cow like radical invention, so much so that many tracks ventured to yet other unexpected genres. A unique and rare classic.
ULTIMATUM (LP: Ekimoz 441 5278) © 1978
Jye Esko (guitars, synthesizers, voice), P.L.M.G. (basses, cello, synthesizers, percussion, acoustic guitar, voice), Hubert de Nampcel (drums, percussion), Yves Brebion (piano, acoustic guitar)

Musique Noise
It is said that "plagiarism is the greatest form of flattery" - or something like that, and Musique Noise went out-and-out to plagiarise the Magma sound so much that they really over-did it. They played on the complex jazzy elements and operatic vocals notably, and put it all into a churning rhythmic structure with strong changes and mood-swings, adding modern late-80's production, bringing the early-70's sound up-to-date.
FULMINES REGULARIS (LP: Musea FGBG 2028) 7+10/88 © 1989
Isabelle Bruston (vocals), Jean-Philippe Gallet (vocals, sax), Frédéric Huynh (bass), Denis Levasseur (piano, synthesizers), Cornélia Schmid (vocals), Philippe Zarka (drums, percussion, voice)

Neo Museum
Alan Terrill (who often writes in Audion) said that Neo Museum "play an intelligent low-key jazz-rock, not unlike Hellebore" which is partly true, except that they were far less radical, and also drew-in Zeuhl and RIO stylisms, the bass and drums relating to raunchy Magma and the sax more in that early instrumental Zappa vein.
NOUVELLES ETHNOLOGIQUES DE L'OSCUR MUSEUM (LP: AYAA dt 0586) 2+11+12/85 © 1986
Alain Casari (alto sax), Antoine Gindt (guitar, bass, piano), Daniel Koskowitz (drums), + Jacques Veille (trombone), Pascal Sieger (sopranino sax), Jérôme Bourdellon (bass clarinet, flute), Raoul Binot (tenor sax)

Orient-Express
On the uncharted far borderland of Zeuhl, this experimental duo (featuring Pascale Jakubowski, also of Delta 4) played a music that ran from new-wave through to Zeuhlian textures, largely down to Erik Baron's superb bass guitar work acting as a base to Pascale's multi-instrumental talents.
COCKTAIL MOLOTOV (MC: Musique en Chantier MC 002) © 1987
Erik Baron (bass), Pascale Jakubowski (piano, voice, bass clarinet), plus guests.

Potemkine
Named after the Russian battleship (I wonder why?), Potemkine were unique innovators themselves in French explorative jazz-rock, though almost certainly originally inspired by Soft Machine. Formed by the Goubin brothers (Philippe and Charles) and Doudou Dubiusson, the band were pretty stable (adding a third Goubin on keyboards), taking Zeuhl-isms and twisting them into a music of their own creation.
As to what their debut single was like - I've no idea. (It may not even exist! - ED.) Their debut LP, aptly titled FOETUS, saw a gelling of moody jazz forms, like a sedate ZAO, with many of the characteristics we normally associate with the Canterbury scene. It would seem that working with Vertø after this (see write-up below) rubbed-off on them greatly, and as a precise trio they came up with the Zeuhl masterwork TRITON, a condensing of those ideas Jannick Top was all too rarely given ample room for in Magma, recomposed into fiery rock and jazz forms, all complex jigsaw-puzzles of riffs, motifs/refrains and solos, linked in a way unexplored except in more recent Univers Zero and Present. Other recordings from this era are featured on the CRAC! festival album (a bootleg I believe) proving them capable of playing such complex music live.
Barely 6 months on though (they'd probably grown weary of being labelled "copyist" by the media) it was all-change, moving to a more typically French lightweight jazz-rock with a funky edge. The third Goubin brother was involved full-time with this one, and I guess it is his jazz roots that took over. 1978's NICOLAS II is a fine album for fans of French jazz-rock.
I don't know if any further albums exist, though I know of concert dates, and that they were touring in January 1989 largely performing works from TRITON.
Rictus/Mystère (7") © 1974
FOETUS (LP: Pôle 0010) © 1976
TRITON (LP: Voxigrave V30/ST7162) 3/77 © 1977
NICOLAS II (LP: Phaeton 7801) 1/78 © 1978
Philippe Goubin (percussion, piano, vocals), Charles Goubin (guitars, piano, bells, vocals), Michel Goubin (pianos, synthesizers, vocals), Doudou Dubiusson (bass, flexatone, claves, vocals), plus guests.

Jean-Paul Prat's "Masal"
Another Christian Vander modelled drummer: Jean-Paul Prat was the brains behind Masal, who in 1975 tried their best to latch-on to the success of Magma. After a number of reformations Jean-Paul eventually got together a solo project which he named MASAL and released an LP. It's one of those oddities of Zeuhl, in that it sometimes sounds like a German prog-rock album from the late-70's mixed with American jazz-rock, whilst it is also very Magma inspired (partly down to the bass and drums, the fiery riffing and dense textures), and as such it remains unique.
MASAL (LP: Stand-By SB 83121) 7/82 © 1984 (CD: Musea FGBG 4155.AR) «4 bonus tracks» © 1995
Jean-Paul Prat (drums, piano, voice), Hervé Gourru (bass), Jean-Jacques Willig (piano, synthesizers), Viviane Galo (piano, voice), Norbert Galo (guitar), Alain Escure (guitar), Carlo Grassi (guitar), Eric Duval (percussion), Gérard Geoffrey (flutes), Richard Heritier (saxes, flute), Georges Rolland (saxes), Richard Negro (trumpet), Gilles Morard (trombone), Bernard Morard (choir)

Rahmann
In many ways Rahmann fit as much into the typical French progressive jazz-rock scene of the 1970's as they do Zeuhl, despite the fact that they were formed by an Algerian! Interestingly, the band's history involves them playing support to Magma on many occasions, with numerous members attempting to join Magma's ranks over the years. Eventually they did become related to the Magma family, when Gérard Prevost (ex-ZAO) joined for a short while in May 1979, and stylistically they were similar whilst also blending in symphonic progressive elements akin to Asia Minor or Camel.
RAHMANN (LP: Polydor 2393 252) 2/77-5/78 © 1980 (CD: Musea FGBG 4261.AR) «4 bonus tracks» © 1998
Mahamad Hadi (guitars, oud, bouzouki, snitra), Amar Mecharaf (drums, percussion), Michel Rutigliano (pianos, ARP), Gérard Prévost (basses), Louis-César Ewande (percussion), plus guests.

Resonance II
An obscure band with hints of Zappa in a Zeuhl spiced instrumental fusion, mixed with folk and offbeat arrangements. Their album aptly lived up to its title "All Directions"..
TOUTES DIRECTIONS (LP: Cabana CA 94272) 9-15/4/84 © 1985
Jean Wittmann (drums, percussion), Yannick Dungler (bass), Alain Fabre (guitar, synthesizer), Richard Chapoy (saxes, synthesizer)

Shub Niggurath
Amongst the most innovative and original bands to emerge as Zeuhl, Shub Niggurath, who took their name from the writings of horror writer H.P. Lovecraft, also sought the darkness of his literature as inspiration for their lyrics and bizarre musical invention.
The thing is, how many bands do you know of with a Scottish soprano and a trombone player? In Shub Niggurath's music, the bizarre is melded seemlessly into a music that one hand recalls ÜDÜ WÜDÜ era Magma, yet on the other sounds like a weird mixing of Stravinsky and King Crimson's Fracture, along with all sorts of other elements. Their debut cassette (only ever intended as a demo) so impressed everyone, that the fledgling Musea label were eager to release an album. LES MORTS VONT VITE was a breath of fresh air at a time when such innovative music was becoming rare, signalling the birth of a new wave of Zeuhl that sent shock-waves around the world.
Sadly, as soon as their reputation began to spread, the band began to fall apart, first the drummer left, then the guitarist, followed by Ann Stewart. A new drummer with Franck Coulaud's fiery intensity eluded them, and thus a change in their style was inevitable. They decided to go more avant-garde, which I guess surprised everyone, especially as their new vocalist Sylvette Claudet had a jazzier style. Still Zeuhl in character, but without many of the usual rock or jazz structures the later Shub Niggurath is quite challenging, and an island unto itself.
SHUB NIGGURATH (MC: SN 6153) © 198?
LES MORTS VONT VITE (LP: Musea FGBG 2002) 3/86 © 1986 (CD: Gazul GA 8613.AR) «2 bonus tracks» © 1997
LIVE (MC: Auricle AMC 035) 13/1/89 © 1989
C' ÉTAIENT DE TRÈS GRANDS VENTS (CD: Musea FGBG 4042.AR) 11/90-1/91 © 1991
Alain Ballaud (bass), Franck Coulaud (drums), Franck W. Fromy (guitar, percussion, electronics), Jean-Luc Hervé (pianos, organ, harmonium), Ann Stewart (vocals), Véronique Verdier (trombone, percussion), Sylvette Claudet (voice), Michel Kervinio (drums), Jean-Pierre Lourdeau (voice), Edward Perraud (drums)

Sleaze Art
Originally a meeting of five bassists, notably Alain Ballaud (Shub Niggurath) and Kaspar T. Toeplitz (Clystere) playing the most free-form Zeuhl related music on the planet. The roots of it all go back to the experimental bass works of Jannick Top and Bernard Paganotti, though in Sleaze Art the musical element is pretty minimal.
SLEAZE ART (MC) © 1987
A DEMI-MORT/HALF ALIVE (MC: Underground SUB 15) 1988 © 1989
ILLUMINATION ROUNDS (CD: Vice V1) © 19??
Alain Ballaud (bass), Christos Carras (bass), Pierre Quesnay (bass), Pierre-Gédéon Monteil (bass), Kaspar T. Toeplitz (bass)

St.-Erhart
Much more typically French prog-fusion than most bands here, these had notable hints of Magma and a smooth spacey style.
PAPRIKA (LP: Omega Studio OM 67020) 11/80 © 1981
Philippe Geiss (tenor/alto/soprano saxes, marracas), Emmanuel Sejourné (vibes, marimba, piano, bells), Claude Boussard (bass), Gilles Fontan (drums, bells, triangle, vibra-slap), plus guests.

Bernard Szajner
A synthesist, best-known these days as the designer of the laser-harp (used at Jarre concerts), he originally recorded an album as "Zed" fusing complex synth-sequencer music with Zeuhl characteristics and coming up with a highly original genre cross-over. It was quite a success, so hereafter he went on to release albums under his own name. Changing the subject matter from sci-fi to an Amnesty International anti-imprisonment concept had mixed results, with the A-side still impressing. Former Magma singer Klaus Blasquiz adds weird growled/processed vocals on both of these albums.
Not at all Zeuhl in any way, Szajner's next album SUPERFICIAL MUSIC was an extraordinary remix/deconstruction of VISIONS OF DUNE involving loops, tapes at wrong speed, etc. After that, another career change saw him attempting to be a French Gary Numan!
Zed - VISIONS OF DUNE (LP: Initial Recording Co. IRC 003) © 1979 (CD: Spalax 14547) © 1999
SOME DEATHS TAKE FOREVER (LP: Pathé 2C 070-14863) © 1980 (Initial Recording Co. IRC 005) © 1980 (CD: Spalax 14545) © 1999
SUPERFICIAL MUSIC (LP: Initial Recording Co. IRC 008) © 1981
Bernard Szajner (synthesizers, vocoder, sequencer), Colin Swinburne (guitar), Clement Bailly (drums), Hanny Rowe (bass), Klaus Blasquiz (voice), Annanka Raghel (voice) + Pierre Chavez (guitars), Marc Geoffroy (pianos, synthesizer), Bernard Paganotti (bass), Michael Quartermain (vocals), Alain Aguis (sax), Michael Rabinowitz (bassoon)

Transit Express
An obscure jazz-rock and progressive band that often flirted with Zeuhl styled arrangements. Their complex blend of progressive styles was always typically French, but they were at their most Zeuhl and jazzy (in a ZAO, Potemkine way) when joined by violinist David Rose on their third album.
Of related interest: In return, members of Transit Express also played in David Rose's band (very much in the Didier Lockwood vein) and there was another interconnected band called Blue Rose (which I haven't heard) that could be of note.
PRIGLACIT (LP: RCA Balance FPL1 0089) 7/75 © 1975
OPUS PROGRESSIF (LP: RCA Balance FPL1 0130) © 1976
COULEURS NATURELLES (LP: RCA Balance PL 37020) © 1977
Dominique Bouvier (drums, percussion), Jean-Claude Guselli (bass), Christian Leroux (guitars), Serge Perathoner (keyboards, synthesizer), David Rose (violin)

Ulan Bator
Formed as the extreme noise combo Miss Marvel ca. 1993, Ulan Bator developed via post-wave/new-wave grunge hybrids. They then went on to fuse Zeuhl stylisms, creating a fiery blend full of surprising twists on the genre. After involvement with a 90's version of Heldon, more recent Ulan Bator releases have surprisingly gone in a completely different direction!
ULAN BATOR (CD: DSA CDSA54038) © 1995
EP (CDEP: DSA CDSA54043) © 1996
Amaury Cambuzat, Olivier Manchon, Franck Lantignac.

Vertø
Like so many French experimental bands, Vertø was actually the vehicle for one man, in this case guitarist and electronics dabbler Jean-Pierre Grasset. As a soloist, he largely explored use of echo/delay systems with the guitar, folding-back sound using two reel-to-reel machines. On side 1 of his debut KRIG/VOLUBILIS he sought the aid of musicians from Potemkine, for a Heldon-esque version of the heavy Magma ÜDÜ WÜDÜ type sound, characterised by lots of fuzzed bass and guitars, and lots of studio trickery. With REEL 19·36 he explored other avenues, largely aided by Magma's Benoit Widemann.
KRIG/VOLUBILIS (LP: Pôle 0009) © 1976
REEL 19·36 (LP: Fléau 7004) 2-3/78 © 1978
Jean-Pierre Grasset (guitars, drums, electronics), + Gilles Goubin, Michel Goubin, Dominique Dubuisson and Charles Goubin (of Potemkine), Benoit Widemann (synthesizers, bass), Jean-Pierre Fouquey (bass), Cyrille Lefebvre (dobro), etc.

Vortex
Although I've never encountered their debut, I can assure you that Vortex were a fascinating band working at the darker end of Zeuhl. Their second album evokes just the spooky atmosphere you'd expect with such a title, pre-empting later Shub Niggurath, mixing classical elements with all sorts of Magma stylisms and jazzy edges (elements of Art Zoyd, early instrumental Zappa/Mothers, etc.), it amounts to a stunning album.
VORTEX (LP: JBP 463) © 1975
LES CYCLES DE THANATOS (LP: FLVM 3008) 7/77+7/78 © 1979
Jean-Michel Belaich (drums, percussion), Christian Boisel (oboe, cor anglais, electric piano, synthesizers), Alain Chaleard (percussion), Jacques Gugot (saxes), Gerard Jolivet (saxes, clarinet), Maurice Sonjon (percussion), Jacques Vivante (bass), Jean-Pierre Vivante (pianos, organ), + Sunny James (violin), Michel Boisel (bassoon)

Xaal
Debuting with a really stunning eponymous cassette, Xaal proved to be one of the few bands to successfully fuse Zeuhl into an instrumental progressive rock. This was largely down to the unique dual guitars (one also guitar-synth) acting as the musical focus, and a rhythm section with almost psychic interplay. Cementing the Zeuhl edge further, the ex-Weidorje (much travelled session jazzers) Guillard brothers guested on their debut CD, a superb album of complex instrumental music, full of fiery riffs and dozens of solos.
A pretty consistent band, the only line-up change was the departure of Laurent Imperato, so the aptly titled SECONDE ERE also moved focus to a style that was both jazzier (a lot of guest brass-work is featured) and more symphonic-prog, thus less notably Zeuhl.
XAAL (MC: Xaal 001) © 1990
EN CHEMIN (CD: MSI 1163) © 1991 - aka: ON THE WAY (CD: Progressive International PRO 004) © 1991
SECONDE ERE (CD: Musea FGBG 4149.AR) 7/93 © 1995
Patrick Boileau (drums, percussion), Laurent Imperato (guitars), Nicolas Neimer (bass), Jad Ayache (guitar synthesizer, guitar), plus guests.

Xalph
An obscure band, existing since the mid-1970's, Xalph history later became entwined with that of Uppsala leader Philippe Cauvin. Keyboard player Serge Korjanevski worked with Cauvin (and vice versa) on solo album projects. The only documentation of Xalph we know of is on an obscure cassette sampler and Musea's ENNEADE where they sound similar to Xaal, but with vocals.
Patrick Briand (guitars), Jean-Michel Cursan (synthesizer, electric piano), Maurice Fari (drums), Serge Korjanevski (pianos, synthesizer), Jack Tocah (bass), Francoise Georges (vocals), Claire Laborde (vocals)

Yog Sothoth
Taking their name from the H.P. Lovecraft fictional demon, Yog Sothoth (also the name of a Shub Niggurath track) are unlikely to be what anyone would expect. They took Zeuhl characteristics and fused them garishly with British styled experimental jazz. The results are challenging, and certainly an acquired taste!
YOG SOTHOTH (LP: Cryonic MAD 3010) © 1984
Pascal Morrow (violin), Philippe Guillot (saxes, flute), Jean-Yves Joron (keyboards), Pierre-Gédéon Monteil (bass), Olivier Lechien (drums)

=============================



Various Artists
There are not many sampler albums that concentrate on Zeuhl type music, making it a tough venture for anyone wanting to explore the genre. That's one reason I decided to do this article! Thankfully, for the uninitiated, Musea issued two records that explore aspects of this field...

DITHYRAMBE
This correlates works by the late-80's Zeuhl underground, involving Shub Niggurath and related acts: Ann Stewart, Sleaze Art and Kasper T. Toeplitz. This is the world of the weird, Gothic and the purely avant-garde end of Zeuhl musics.
DITHYRAMBE (LP: Musea FGBG 2015) © 1988

ENNEADE
A celebration of Zeuhl and related musics, with a new work from Magma (totally unrepresentative!), recordings by Magma members, and works by (then) current Zeuhl bands: Troll, Xalph, Eskaton, Shub Niggurath, Eider Stellaire, plus on the CD: Musique Noise, Farben (only recording known), Altaïs (from the EP) and Univers Zero (off "Crawling Wind").
ENNEADE (LP: Musea FGBG 2005) © 1987 (CD: Musea FGBG 4005) «4 bonus tracks» © 1989

So, there you have some 60 odd other releases to investigate! In the next Audion I'll scour the rest of the planet, and show how influential this French phenomenon has been with acts from England, Germany, Canada, Japan, and even the USA!

=============================


Note: I will come back to this article and add pictures and YouTube links later.
So, watch this space!

Auricle 2005 Sampler online as name your price download

Auricle 2005 Sampler

2005 was a very busy / prolific time of releases on the Auricle label. A total of 16 home-grown releases are documented on this sampler, all but one involving the brothers Alan & Steve Freeman (in Endgame, Extremities, The Scanner Game, Triax and Zircon & The Burning Brains), the other being a Jim Tetlow solo (also of Endgame, Extremities and The Scanner Game). Would have been more if Alto Stratus had done some sessions!

A unique sampler this, as the tracks are not merely selections from the albums, but are all remixws, many of them total reconstruction done by myself (Alan Freeman) in a Pierre Henry or Nurse With Wound like fashion, so that each piece represents the album yet is a new work in itself.

If you've never heard any of our music before, and are feeling adventurous, then give it a try!

outer space electronics - new release!

APPROACHING INFINITY - EN PASSANT
Auricle AMCDR 285 68'05" 

Remastered duo works from Quadelectronic by Alan Freeman & Jim Tetlow, all recorded live with no overdubs. These impromptu live sessions reveal the unique chemistry of Alan and Jim at work, an intuitive way of interacting that goes all the way back to improvised sessions in Shapeshifter over 20 years ago, and further developed in Endgame and other projects since. Approaching Infinity is as much an attitude as a band name, which may be played out even more aptly in future live gigs. Cryptically titled En Passant - another chess move reference like Endgame - this debut sets the scene for further albums to come.

£8.00 + p&p worldwide PayPal mail-order

Trippy rock by ex Quarkspace super-group

SECRET SAUCER - TRI-ANGLE WAVES
(Salad Farm Studio SFS003) CD 60m

The American supergroup space-rockers are back with a third instalment, and one that revisits old ground whilst venturing on to new territory, particularly in its diversity.
For starters, the opener Night Encounter is just four musicians on synthesizers, evoking both the Teutonic cosmic masters and the ethereal moment of mid-1970's Gong. But we can't take the instrumentation literally, as A Sublime Metaphore which follows lists no electric pianos, but they are there. Sublime though it isn't, majestic it is, as the drums, bass and guitar add to the ride. Now we a have a break from Secret Saucer tradition, whereas the previous two albums flowed throughout non-stop, here we have a pause before we launch into the instrumental Hawkwind and/or Djam Karet styled Protoplasmic Accelerator which tangles around itself, with synth wash entwining around guitars ever more hypnotically, surging with energy but also holding back creating great tension, ever threatening to explode. Another synth respite is the vaguely Cluster meets Klaus Schulze and Tim Blake ooze/froth of Approaching Hunab Ku (whatever that is - ah, the wonders of the web, Wikipedia says: Hunab Ku is a name invented by Catholic missionaries sent to the Maya peoples of the Yucatan Peninsula in Mexico) which means that it's a very odd title. Light Years Away takes us back into high flying Quarkspace "Spacefolds" territory, and then we wind up with the more lethargic (but still heavy) trip Mind Mechanic which has a feel that reminds me of the legendary Mythos, as if they'd had Steve Hillage on guitar! I'm trying to use my imagination here, as describing such music is no easy task.
It's an interesting album also musician wise, especially in that no one is on the whole album. Steve Hayes (synthesizer, guitar), Dave Hess (synthesizer), and Greg Kozlowski (synthesizer, ebow guitar), each feature on all but one track. Ted Bobuka (drums) and Billy Spear (bass) appear on the four rock tracks. And various others feature here and there. No doubt this variety is what makes it more interesting, with a steady succession of ideas from different people at work, and not at all the hotchpotch jigsaw that such a way of working could result in. In that way I'm reminded of the Cosmic Jokers albums, which would have been similarly put together.
In all, it's another great one, and it's good to see that they decided to break their own mould, and surprise us all.

Tri-Angle Waves

From Audion #57, page 32 (Autumn 2012)


A web p.s. Unfortunately all the three classics by Secret Saucer are sold out (although you can still find some on Discogs). At Ultima Thule we do still have in stock the excellent cosmic synth album by Greg Kozlowski under the name Antrilon.

This is my last web post from Audion #57. These have been all my articles from the issue, plus selected reviews. There's much more in the actual magazine, including a load of reviews by Andy G. (including his second Agitation Free reissues feature) and an article on world music fusion by Jules Conway, and a page about Djam Karet & related releases by myself, etc., etc...

Endgame - what an adventure that was!

ENDGAME

Established in July 1999, Endgame comprised the brothers Alan and Steve Freeman (sound explorers since the early 1980s, mostly as Alto Stratus) joined by Jim Tetlow, a local friend who also had the desire to explore new sonic possibilities in free improvisation. Alan and Jim had been working together in Maureen Anderson's Shapeshifter (a Leicester poetry and space-rock type band) and already had a rapport. But, apart from that, Endgame started as a blank slate: no rules, no bounds, no concept, except the idea - just play, lead, follow, react or influence, and let the music take on a life of its own.

It started as an evening session once a week, all of which was recorded, and of which over half was deemed worthy of release. Such a productivity rate had to slow up eventually, especially as Endgame started to play live, and there were other sideline projects like Eruption (with Nick Mott from Volcano The Bear), Polymorph (with Maureen Anderson) and Extremities (with Dave Powell on hurdy-gurdy).

As Endgame music is instantaneous invention, it's hard to say where its roots and inspiration are. Initially it was a music that stepped on from German cosmic music in the manner of Lightwave, but with the serious avant-garde feel of Morphogenesis. Early Tangerine Dream and Kluster/Cluster are also obvious references, and the ghost of Karlheinz Stockhausen can also be heard, along with Taj Mahal Travellers or the "sound pools" of Agitation Free.

As of last count there were 95 Endgame releases in all (several of which are double albums), each with its own individual character, and all can be auditioned by Bandcamp or via special YouTube promotional videos. 

Endgame live at The Victory, Leicester circa 2001

Here are some choice reviews...

ENDGAME: CATALYST

The Freeman brothers, (authors of CRACK IN THE COSMIC EGG, and editors of AUDION Magazine), have also made music for many years. Their newest release, which also features a third member Jim Tetlow, is the answer for all those who long for the days of yore when TD was still tuned into the cosmos. Their “music” is derived from the improvisational mode of early TD and ZEIT, along with the more modern vibe of Lightwave, a splash of Kluster and hints of Holger Czukay’s experimentalism. The albums four extended tracks, on 2 CDs, combine for a total running time of 140:40, and the sonic constructs explored will have your mind reeling as the journey through the musical cosmos progresses. ENDGAME is a very impressive album, experimental in concept, yet listenable, with a great avant art presentation.

[by Archie Patterson in Eurock]

ENDGAME: AVATAR

From the increasingly prolific trio Endgame comes this latest double CD. Recorded over 4 sessions during October & November 1999 the 7 tracks here represent just a snapshot really of their work in progress. (Improvisation seems to me to always be ever developing, to be work in progress). In assembling the pieces for this album Endgame have labelled each disc with a separate subtitle. So let's start with disc 1. "The really deep cosmic one" - (by which I take it they mean deep as in distance rather than claiming to have found the meaning of life!) is made up of 3 tracks ranging from 12 minutes to a meagre 42 minutes! An obvious influence/similarity here is the dark semi abstract soundworlds of Lightwave. Endgame have that same sense of space & movement. But I also kept thinking of a much earlier sound, that of the improvisations of Amon Duul 2! Just in small sections, but it's there. Whatever, there is that same style of exploration going on. With a touch of danger. "The psychedelic twisted one" - is made up of 4 pieces going from 9 to 35 minutes. (I'm less sure that the subtitle works here - but never mind). The music while still having much in common with the first disc does tend to the more avant-garde, more like Morphogenesis - another acknowledged influence. But I can spot bits that remind me of Les Vampyrettes or the Moebius & Plank track Solar Plexus say. I could go on - but I think you get the idea really. This is improvised music that is well aware of where it's coming from. It's improvised music with an agenda & game plan. No it's not random noise or sound, it has a structure even if each piece didn't set out to have one. Endgame are going into it all with their eyes open - one on the past, one on the future & one on the present!

[Gary Scott - from Audion 45]

ENDGAME: TUNDRA

Once again in the cosmic courier service are the Freeman Bros. Alan & Steve along with Jim Tetlow and as always with synthesizers and guitars, tapes, loops and samplers best equipped for up to 47-minute spacewalks and for the frostiest ('The big freeze') and most glowing environments ('Atomsmasher / Cyclotron' ) on their 'Forbidden planet' explorations. Always following their curiosity and longing for desires, always on the lookout for Terra Incognita, lost time, the ultimate kick, the cosmic Phoenix egg and I'm sure (otherwise they would not be English), they know pretty well that 'cosmic' distinguished from 'weird' only a little s - the little snake ', with which all space and fun begins.

[Google translated from Bad Alchemy]

ENDGAME: C

A very happy customer...

As regards "C" one very amazed "wow!" It was bound to be something special what with being Session 100 and everything but it really goes out there somewhere. The good thing about an Endgame release is that I can hear certain trademarks developing, Yet here they have completely vanished... This has to be the most unique release so far. Hints of Cluster 71 somewhere, but by the time we reach Brain Stalking Quotient we are in totally unknown territory. Admission price is worth it for this track alone. [Peter Smith]

ENDGAME: ALLES UBER SCHIZOPHRENE?

(Auricle AMCDR 072/73) 2CDR 132m

Close your eyes and imagine a journey and I guarantee that however surreal you can make it the results will be nothing compared to the contents of this 2CD set (Disc One 58.55, Disc Two 73.09, and hours of fun)…

We begin our adventures in Leicester with a seemingly innocent toy instrument, and end up, well, we end up at the beginning again…are you ready? This is Endgame at their most surreal and abstract, much as I like every aspect of the groups output this facet is for myself, their most unique.

Second track in and reality is already loosing grip, Leaking Cerebral Matrix claws away inside your head with steel strings and nightmare drones, everything is implied rather than spoken, most unsettling. By the time we reach Redrum Si Gnimoc there’s no way back (or is that forwards?) A total claustrophobic nightmare indeed, no let up with Celestial Collision either, these two tracks were part of the epic sessions recorded December 01, only weeks away from the equally surreal “C” sessions, what on earth is running through the water pipes in Leicester?

None of this however can prepare you for The Inevitable Fake Ligeti (which I guess is a homage now). Found sound juxtaposed with that famous Endgame eternal loop system combine to create what for me is the landmark of the disc (at least on this playing) need I say more than tell you that there is no-one around at the moment who is producing anything close to this? All The Latest Gadgets.. starts off like pure NWW but then suddenly pulls you through into another sound dimension stretching and reversing images until your head turns inside out. Back to reality to change discs.

Are you still with us? Take a break if you wish, or perhaps you’d rather take a trip inside the cosmic oceans of Spray ? Amid the creaking bones and metal tones something sinister lurks. Later we find ourselves in The Church which starts off something like a twisted out-take from ATEM but soon ventures to even deeper and darker pathways, forget your guidebooks as this one is totally unique. Further on the sound of breaking glass pulls you back inside your body, Erupting Glass Lullaby is just that, but be warned, fall asleep to this one and your dreams will be full of toasted marshmallows, it starts off calmly enough but there’s something there in the corner of the room.

There’s so much more to this recording, so many more twists and turns, and I haven’t even mentioned the humour in the speech-links or the superb editing which really holds the whole thing together.

Furthermore as if this wasn’t enough of an Endgame epic, the first disc also contains a wealth of CD-ROM material. Marvel at the images of Tachyon Studio, loose yourself in the selection of mind warping graphics or simply get terrified by the sound montage and surreal journey around the UT store itself…either way a splendid time is guaranteed for all…

To sum up, the day that I received my copy of this epic collection I also received the new NWW disc, and I know which of the two releases is the most adventurous, Steve Stapleton and co. no longer need my voice of support, but the good spaceship Endgame and all who sail in her certainly do, and what’s more its deservedly so.

Put simply, if you are reading this review then you owe it to all concerned to purchase a copy of this release. Have a pleasant trip.

[Peter Smith in Audion 52]

ENDGAME: HEXED

(Auricle AMCDR 058) CD 61m

On the cover we see in brownish-dark yellow a blurry image that may be a militant centaur. Six tracks on this one. Catamount Minor Tremble is an intriguing title of a piece where a turbid Morse code rhythm effect locks in the listener, but on the same time lets him distinguish all sorts of surging sounds till it’s a all blown away by a blast of filtered white noise. Blasts that keep coming, bringing washes of vibrating sounds. Then the clouds of lo-fi distortion break a bit and some partials manage to escape and slither through. From behind the rumblings and blazings shimmers of ZEIT evolve, but only briefly. Unshaped vibrating sounds reaching for heights which culminates in a pinnacle of radio signals. Snehcteit Sumsa, could have been a title from a Bernard Szajner album, builds on echoing clouded metal-noise rhythms, which become louder and louder, shooting like angry rockets round your ears, countered by the occasional tender blows of toy trumpet. The piece dies out in the same manner after a rumble of machine-like noises and stormy blazes. Shards Of Glass is an excursion into spooky ambient shimmers, well anyway till distortion brings it back into noise territory. On Waste Disposal winds of detuned and synced oscillators start a vendetta. Audio cutlery is flying all round like in the film Carrie where the mother is nailed to the wall by knives and forks. Intriguing heavily treated sounds deliver a hypnotic quality. On Synthetic Fly Ceremony I feel myself transported to the nightly beach of nightmares in the ghostly movie The Fog. There’s No One There starts as a classic cosmic pie, but turns quickly into a much weirder, complex deepened soundscape highlighted by a muffled women’s voice who questions the fact that’s no one there. HEXED will grow on you in time.

[Roel Steverink in Audion 54]

After this Jim 's priorities became focussed elsewhere for a while and Endgame became a more sporadic happening, and with new technology the music changed, again becoming much serious and deep. Endgame also resumed playing live, which also led to the Improv Electronic concerts and Quadelectronic (now in its eleventh year), and many other related groups.

In all, there's too much Endgame to discover than can be covered in an introductory article like this. So, how about summing up with the latest Endgame release?...

ELECTROACOUSTICS (Auricle AMCDR 287/288) was an almost lost album, that chronologically fits in between INTRIGUE and PHOENIX from late 2006, rediscovered only recently. This is Endgame in deep sonic contortion mode, with a wealth of sounds undergoing live manipulation via a range of devices, and less of the usual recognisable synths and instruments. Largely intact, as it was performed, here are five very different tracks, each the soundtrack to its own imaginary mind movie. And, as listening yourself can say more than words, here's a taster for you...

A complete index of Endgame releases can be found on the Ultima Thule web site.

Alto Stratus - quite possibly Leicester's longest running experimental band

The duo of Alan and Steve Freeman (owners of Ultima Thule, etc.), we spent much of our spare time during the early 80s experimenting with synthesizers, sound collage, etc., and during that period we recorded some 30 odd cassettes as Alto Stratus (and under other guises: as Vrije, Q.S.O., Electric Junk), also as soloists, and the trio with sound artist Nigel Harris in ZBB.



"Tachyon" was one the most fanciful and conceptual recordings from the early 80s, an era of intensive home studio work, experimentation, and honing skills as electronic artists. Our "studio" consisted of 3 cassette decks, a 6 channel keyboard mixer, and a few effects. Back in 1984, the "Tachyon" was thought to be "a theoretical particle, capable of travelling faster than the speed of light", whereas today scientists claim to have proved its existence. Such an idea amounted to a fascinating concept for an album. "Tachyon" is intriguing for us today, with references and influences of: Conrad Schnitzler, Teddy Lasry, Cluster, Dome, Heldon, The Residents, Stockhausen, Throbbing Gristle, etc. Being non-musicians, the way we put all this together is more from the viewpoint of sound-artists, relying more on colour and texture than normal melodic composition, yet it's surprisingly melodic! The resulting potpourri of all this is incredibly diverse, and still surprisingly fresh 15 years on. Digitally transferred by Colin Potter, with an obscure bonus track, this is some of the finest Alto Stratus, with infinitely superior sound and clarity. Now, on CD, it should last forever!



"Catharsis" was the first release from Alto Stratus in over a decade, but is not so much a reformation - more a continuation - working on ideas hinted at on older releases and with our other current project Endgame. It's partly the result of works in the Newt Hounds project, and an attempt to recapture the feel of Biomechanoid. The side-long "Necronomicon Suite" involves a 45 minute improvisation that amasses a wide range of styles (Dadaism and collage, through to cosmic synths and psychedelic rock) and is full of surprises, as are the three tracks that cover the second side. 90 minutes of unique Alto Stratus invention. And now, sporadically, Alto Stratus goes on, with many more releases, each a unique step along our own musical avenue!

Here's a totally improv live piece from 2012...





Buy Alto Stratus CDs here and downloads here

Audion magazine - back-issues still available

Audion magazine was established in 1986 and kept on for 30 years, with 58 issues and other publications. Most back-issues are still available. Some are last copies or odd second-hand / ex-display ones only. Grab a bit of music history and have a good old read!

Audion index/buy here: http://home.btconnect.com/ultimathule/audion.html

One-off and rare magazines here:
http://home.btconnect.com/ultimathule/UT-catalog-booksandmagazines.html 

Or buy via Bookogs: https://shop.bookogs.com/seller/ultimathulerecords/
at Bookogs you can view several pages from each issue!

Zanov classics on CD!

Zanov is a mysterious character of the French electronic / synthesizer scene circa the late 1970s and early 80s. During that period he made 3 classic albums. All have now been issued on CD and are now in stock at Ultima Thule, either direct or via our Discogs shop:
https://www.discogs.com/seller/ultimathulerecords/profile?artist_id=475345&ev=ab

improquadelectronic at Bandcamp

All these improquadelectronic titles are now "name your price" downloads. These are exclusive live recordings from gigs at The Musician, Bambu and Quad Studios in Leicester. Some are also available on CD from the Ultima Thule site (worldwide online PayPal ordering)

https://improquadelectronic.bandcamp.com/

http://home.btconnect.com/ultimathule/tachyon/releasesindex.html

10 years of Quadelectronic

Quadelectronic is a unique event, that initially grew from gigs organised by Chris Conway at The Musician in 2004 to 2006, then our "Impromptu Electronic" sessions at Bambu in 2007-8, involving local musicians from Chris Conway improv projects: The Planet Scanners and Continuum, along with projects involving the Freeman brothers (owners of the Ultima Thule Record Shop) Alto Stratus, Endgame, Extremities and Triax.

Hosted by Chris Conway (well-known local musician) & Bob Bryars (Quad Studios). Quadelectronic is a unique inexplicable monthly event. More of a "happening" than a regular gig. An improv, jam, workshop event for those that love to experiment and interact in free improvisation. Open house, within reason, anything can happen. Naturally, the key focus is electronics, although other instruments extensively feature. Performances have ranged from free-form chaos to space-rock to cosmic jazz, to pure synthesizer or avant-garde electronics.

After seemingly outstaying our welcome at other venues, who would have guessed that Quadelectronic would still be going after 10 years? It's almost become a family of friends.
Witness this unique performance from the 10th anniversary event...




Photo/slide-show video with audio montage from July 2018's event...




Here are some handy links...
Quadelectronic - Cities In Flight 2CD set
Quadelectronic Documents archive
Quadelectronic Facebook Group
Early videos on Jim's Synoneiro channel
Ultima Thule gig news

Con-Hertz - myterious Berlin 1980s electronics

After Conrad Schnitzler left Tangerine Dream & Kluster (pre-Cluster) in the early 70's, he went on to be one of the most prolific explorative synthesists, and made dozens of albums, mostly as small private editions. In the 1980's he established numerous other projects, Con-Hertz was the duo of Conrad Schnitzler and Wolfgang Hertz Heusmann (ex-Aussenminister, Model 81), who made two very different tapes: "Face On Radio" consists of extracts (chosen by Auricle) from six hours of Wolfgang's remixes of archive recordings by Con in the style of "Conal". Aptly different, "Contrasts" is a direct collaboration between the two musicians, presenting a good deal of Con's best formative computer-electronic music, both melodic and abstract.

Xylemexperimental YouTube channel

Lots of new uploads at:
https://www.youtube.com/channel/UCJdLa5QfQn8MV0YtA093S4w

Kevin O'Neill - Icon

First upload of the Kevin O'Neill catalogue.

Pioneering Welsh synthesist primarily active during the 1980s. Kevin was one of the rare examples of a unique talent with a distinctive personal style. True, he did occasionally display his roots and influences in his music, but he never set out to copy or emulate anyone. So Kevin was not another Schulze or TD wannabe, and this was what made his music so invigorating and exciting - we'd never encountered the likes of it before! For this reason alone Kevin's music has remained fresh and vital.
     Initially we presented our favourite two, his first and third cassettes, cleaned-up for an authentic sound sans hiss or defects and remastered by Alan Freeman at Tachyon studio. Since negotiating those, Kevin gave his permission to reissue all his other cassettes and also two archive collections, adding up to the complete collection.

Industrial music from the Interstellar Cementmixers

 CELL BLOCK Z

Back in the 1990s the Nottingham band The Interstellar Cementmixers decided to try out something different, something that was not their usual explorations into deep space. So they chose a new name and decided to put the accent on weird, and came up with this rather remarkable and twist work of electronic industrial type music...




Buy the CD here

New Krautrock sampler online