ZEUHL

The band existed from 1978 - 1983 and consisted of Philippe Dulong (guitar), Christophe Codet (drums), Eric Baron (bass), Thierry Jardiner (keyboards) and Christian Coutzac (vocals) and like all the underground sensations was active on the specialty club circuit which kept the zeuhl genre evolving ever further away from its parent source from Kobaia. This band was really obscure and lurked in the shadows even during its existence. While there is no doubt Magma was the primary influence (as is mostly the case with zeuhl acts), PSEU was one of the more uptempo outfits to tackle the Carl Orff inspired genre with its repetitive grooves and hypnotic atmospheric elegance.

PSEU was also one of the more energetic bands which while not exactly incorporating large stentorian choirs, offered thundering bass grooves, avant-prog inspired guitar sweeps sounding a bit like the works of early Present as well as crafting a more melancholic vibe that could easily point to the early moments of Univers Zero. While the instrumentation is sparse, PSEU made the most of it with only Christian Courtzac who offers both wordless utterances as well as mostly frantic spoken dialogue in French. The album begins with shorter tracks such as "Biguine" which are right out of the Magma playbook but at the end of the album three lengthy tracks of over 10 minutes each offer more diverse influences ranging from jazz fusion and the theatrical antics of Ange.

Overall PSEU was one of those between the cracks zeuhl bands that never really developed a distinct style that is unabashedly original however the material these guys did record was just off enough from anything especially in the use of guitar and musical motif arrangements that it offered a different shade of similar acts such as Uppsala, Abus Dangereaux and of course Magma itself. The things that it offers apart from other bands included avant-prog leanings ranging from the early RIO of Univers Zero and Present to the more discordant guitar work of Robert Fripp in King Crimson's most experimental phases and the Ange like vocal escapades. While Magma purists will surely deem this as close enough to be considered a mere copycat, careful listening will reveal glaring differences and since the performances are excellent and the compositions are enthralling for anyone who enjoys the micro-differences within the zeuhl genre will find themselves enthralled.

It took two more years but the band pushed ahead and recorded its first full-length FOETUS in 1976 on lauded Pole Records better known for its wild French take on progressive electronic than jazz rock but nevertheless the release of the album found the band finding larger playing venues and exposure courtesy of the brilliant Tartempion non-profit which organized concerts. Delivering a much mellower style of jazz rock fusion with zeuhl rhythms and wordless vocals, FOETUS seamlessly melded the placidity of the Weather Report with the more French sounding zeuhl sounds of Zao only with a more robust flow of diverse cadences and musical motifs that were occasional punctuated with a bit of guitar heft for contrast. The Jannick Top style fretless bass slides gave it a distinct zeuhl flavor as do the scattered vocal appearances.

More jazz rock oriented than zeuhl, FOETUS showcases a dreamy procession of jazz-fueled workouts with scat vocals adding an extra element of support. The music mostly drifts on in slo-mo but occasional outbursts add some spice. Despite the jazzy chord progressions and nods towards varying fusionists, POTEMKINE featured no horn section or wind instruments with the bass, drums and keyboards seeing the most action. The violin creeps in from time to time for assistance in the spicing it up department and the same with the guitar so mostly FOETUS features sparse instrumentation and tends to engage in repetitive grooves that don't offer as much diversity or contrast as one would expect from anything remotely tucked into the zeuhl category. The track "Cedille" sounds more like a classical piano recital with no other instrumentation to be heard. Remote references to England's Canterbury Scene are on the fringe but never really heads in that direction.

Overall FOETUS is a bit too tame for my liking as the entire affair seems like the band as only getting its footing in its new chosen style of operation. The compositions are particularly weak and the use of the violin seems like wasted potential. While the pianist clearly showcases a competency level worthy of a the prog rock status, the rest of the musicians don't seem on top of their game. While the band hints at zeuhl it never really goes there either. It's more of a traditional and rather bland display of underwhelming jazz fusion that sounds neither cohesive nor particularly well crafted. It's not a horrible listening experience by any means but in category of progressive music that was cranking out some of the most exhilarating musical acts of all time, POTEMKINE's debut seems a bit lackluster in comparison. The only track that really gets my juices flowing is the two minute finale "Cycles." OK album but not great.

However in the meantime he hooked up with Christian Vander and played on the early jazz-oriented Magma albums and after joined Zao where he played sax, clarinet, flute, tarogato AND piano. With seemingly endless talent SEFFER first collaborated as a solo artist as a collaborative effort with Christian Vander and friends to create post-bop album before unleashing his own version of jazz-tinged zeuhl in 1976 with this debut release DELIRE. Adding the secondary band name Neffesh Music (music of the soul), SEFFER released three albums with this one being the most wild and ambitious with little though paid to the transcendental nature of what would come. DELIRE featured six tracks at nearly 39 minutes offered a wild mix of free jazz, jazz fusion, avant-prog and zeuhl.

Interesting for a zeuhl band, Neffesh Music lacked not only guitars but also featured no bassist (which future Neffish albums would feature). Sounding something like a mix of 20th century classical music and jazz, DELIRE featured a cello, bass clarinet, viola, violin and percussion with SEFFER handling the saxophone and long list of keyboard styles. The album remains one of those rarities that has still never been released beyond its 1976 first edition on the Moshé-Naïm label however readily available with a few click on your computer keyboard! Given the presence of so much wind instrumentation and a piano, this debut is undoubtedly more steeped in SEFFER's musical familiarity of avant-jazz however the chamber music elements give it a strange Stravinsky style.

This is fairly chaotic music with complex arrangements that offer strange counterpoints, independent musical processions that sometimes work together and others purposefully clash. Imagine the piano antics of Cecil Taylor with a chamber orchestra and you can imagine the freaky virtuosity exploding like fireworks. The zeuhl influences do occur however they hardly dominate especially in the most bizarrely twisted title track which takes avant-jazz meets chamber music to extremes with no Magma references whatsoever. This is b y far the most atonal and free jazz track of the entire album and sounds like a modern classical orchestra is battling it out with a free jazz ensemble. Totally wild and unapologetically demanding. The ending comedown track "Ima" which takes the jazzy saxophone playing into a more meditative state in the vein of Indo-raga with a buzzing drone effect with some chanting female vocalists joining in. Perhaps SEFFER's dabbling in jazz-tinged Krautrock?

It must be stressed that this album sounds nothing like Magma, Zao or even the following Neffesh albums and actually doesn't sound like anything i've heard. The unique mix of avant-jazz with modern classical chamber music crafts an interesting stylistic version of third stream however the album itself is quite diverse from beginning to end with easily digestible tracks more on the psychedelic side and of course al those gnarled instrumental workouts that come towards the end of each side of the album. While this would definitely be considered difficult music listening and very unclassifiable as far as pigeonholing a distinct genre, the craftsmanship on this is mind-blowing and every musician performing is the cream of the crop. If you don't like atonal free form jazz and crazy 20th century classical then don't even bother with this one but if that's your bailiwick then this is one you can't miss!

Although the band formed as far back as 1976, it wouldn't be until 1984 that the first album was released. The pre-album years were dedicated to numerous rehearsals and live settings and by the time the band recorded its self-titled debut it was a well-oiled machine. Originally consisting of seven tracks at over 38 minutes playing time, the Musea reissue CD versions also featured three bonus tracks. UPPSALA developed a style of its own mixing zeuhl rhythms and falsetto vocal utterances with jazz rock and even Talking Heads inspired new wave. UPPSALA's varied ability almost makes the album seem like a completely different band at times with tracks like the opening "Algarade" clearly looking back to the 70s world of zeuhl and jazz fusion while others like "Coup de Folie" sounding like a more frenetic version of David Byrne and a funk-fueled 80s guitar pop band.

Unlike the serious nature of most zeuhl bands, UPPSALA was actually pretty whacky in a Frank Zappa type of way with silly vocal styles (especially over the top falsettos which do evoke the Samla Mammas Manna antics), strange guitar playing methodologies and crazy bursts of energy fortified with extra demanding time signature workouts. The album was actually recorded in 1980 but took required three years to find any label willing to release it. The band ultimately self-released on Cauvin's Ki Records label. While all the tracks are strange with references to Devo, 80s King Crimson, Talking Heads as far as new wave goes and of course Magma and jazz fusion acts of the 70s in terms of prog, the act was quite unique and didn't sound like any other band i can think of with perhaps the closest coming from another French band Super Freego who too engaged in the chimeric hybridization of 80s new wave with 70s prog.

The strangest track of all is the 13-minute track "Uppsala" (gotta love track names that are the same as the band and the album!) which tackles some of the strangest soundscapes on the entire album with seemingly meandering musical aimlessness in myriad directions but yet all held together by accessible fretless bass grooves and pockets of melodic developments that come and go. The three bonus tracks on the Musea releases are actually live recordings of the band's brief reunion in 1995 and although the band went for a more accessible style after the release of this debut album, these tracks are in the spirit of the freaky music presented on this 1984 release and encompass Musea's sales pitch of "a very original, devastating, powerful, and technically perfect music, with a lot of intensity and passion." These words ring true. Extreme in every way possible this band stretched the limits beyond the acceptability range of most traditional proggers.

A true noteworthy addition for any outsider weirdo music lover's collection, UPPSALA truly excelled at crafting a bizarre musical monster all its own. Perhaps the most idiosyncratic of all zeuhl bands, the music is clearly what any lovers of melodic prog would call a complete mess but if whimsy and brash deviations from the norm are what the doctor ordered then this one will surely offer some of the most outrageous displays of unconventionality. It's one of those albums you must surrender to and accept on its own terms as it demands you be sucked into its reality and absorb the new musical language being presented. While zeuhl itself was a wild deviation from the norm, it's amazing how so many bands that followed Magma found clever and unthinkable new ways of expressing the seemingly straightforwardness of its premise. Highly recommended for lover's of the difficult music section at the prog superstore.

There's a beautiful tribute from Christian Vander in the liner notes to his old departed friend Rene Garber who passed in 2015. He mentions about thinking of him a lot during these recordings but also how his presence inspired him. "You were always there close to me, breathing energy, inspiration and spirit into me... and into every bar of MAGMA's music."

The one song on here that keeps me from rating this higher than 4 stars is the commercial sounding closer "Dehnde" and it's from 1978 originally sung by Garber while he also played piano and that demo is a bonus track on here. Here Christian sings and in his tribute he mentions this hoping his old friend will like it. The first time I heard it I was actually mad because it's the closer and it's the most commercial sounding MAGMA song I've ever heard. I don't mind it now but it sticks out like a sore thumb when compared to the rest. And I don't want to be too critical as proceeds of this song go to "Fondation Initiative Autisme" to quote the liner notes.

I am such a fan of wordless vocals and that's really the appeal for me here along with Vander's still powerful drumming skills. The drums sound so good, so crisp as he hits them with authority. an eleven piece band here with Bussonnet getting the boot apparently and Jimmy Top taking the bass role. Son of Jannick. I like when I hear him he's got a growly tone but the seems to go missing for long periods. Great to have Simon Goubert here on keyboards along with Thierry Eliez who does the same.

Goubert composed my favourite track on here called "Wii Melehn Tu". I especially like the start with those strange vocal sounds. Like fast-paced gibberish really but it's so cool sounding. Love when the drums and electric piano come in as it builds. I'ma fan of all of these songs really but I also really like "Walomehndem Warrei" a lot. At first the music swells and falls back until dark piano lines arrive along with wordless vocals then drums to the fore. I like the bass 2 minutes in and the overall sound after 3 minutes. Such a great track. Oh and the bass dominates after 6 minutes.

And while we get a lot of vocals on this record we also get plenty of incredible instrumental work to balance things. This is a solid 4 stars for me despite the questionable closer. There's a really nice picture of the band but I'm not sure who the kid is at the back, oh that's Jimmy! Did I mention Stella Vander produced this album?

"05" clocks in at over 54 minutes and eight tracks including that over 14 minute closer "Tsunami". That track is a definite highlight especially those almost 6 minutes to start where we get a lot of sparse moments but contrasted with some action. It's the sparse sections though that impress with the electric piano and especially the bass where it feels like it's in the spotlight for the first time on the album. Francois' bass should be more upfront on this record in my opinion. Now when this final track kicks into gear we get a Zeuhl rhythm and this is another highlight for me. Intense stuff until it settles back around 8 minutes in. Some nasty sounds before the bass, electric piano and drums impress. It all ends in an experimental manner.

Another highlight is the 8 1/2 minute "XZ102" starting out with intricate sounds, I like the bass and the drumming and keys impress before it all gets into this MAGMA-like groove 2 minutes in. The opener "Sunday Therapy" has a real ESKATON moment where I'm actually waiting for the vocals from that band to jump in. Both "Le Reveil" and "Plastic Lizard" have some off-kilter stuff going on, not exactly my thing but both are excellent tracks. I am such a fan of the electric piano and man does this album deliver in that department. We even get birds chirping to end "Bacchanales Bucoliques" and to start "Le Baron Perche".

A solid 4 star album that could have been better. Funny I really like this band but they are a step down for my tastes when compared to similar bands. Not much in the way of mellotron but at least there's some. The organ has a greater role than the synths I feel but again this is an electric piano album all the way.

In my opinion the Zeuhl influence is barley there and I wish they used an electric bass instead of acoustic but I get that they are trying to get a certain sound here. The keyboardist is a boss I'll say that and vocalist Anne Hirsch is my favourite thing about this record. I understand that each musician went through their parts changing and adjusting before the final results were given. Attention to detail. The music is constantly moving and evolving. In fact for this style I'm surprised that they kept my attention throughout.

One of the reasons I don't love this album is the opener "Tritium" and it's a fine composition but Anne's vocals at times remind me of a group that I can't put my finger on but it's not a good thing. Of the five tracks two really stand out including track two "Isblink" which just clicks with me. I like the rhythm section maybe the most here and it's mid-paced for the most part. My favourite though is the closer "Altaelva" where I feel some actual emotion listening to a minimalistic record! What? Check it out after 4 minutes. Love that instrumental sound a minute later as it continues to change as all these tracks do. Great finish to the song and album.

A very solid 4 stars for this 2022 release and I like this better than the Nik Bartsch stuff I own.

Dhorimviskha is the fifth album by the Japanese band Zeuhl, Koenjihyakkei one of several projects made by drummer Tatsuya Yoshida, Koenjihyakkei had a long hiatus of 13 years from 2005 after releasing Angherr Shisspa until 2018, Koenjihyakkei has a discography that I was always curious to hear , is probably Tatsuya's most popular band, and Zeuhl has always been a genre that fascinated me due to its mix of classical music with progressive rock created by Magma, so I finally went to listen to this album to try this band and man, its fantastic!

This is a Zeuhl album of the highest level, the melodies use a lot of dissonance to convey a very strange sensation, polyrhythm for all the songs and impressive techniques, despite Zeuhl being in a way, inaccessible, and just because of the names of the songs like ''Djebelaki Zomn'' and ''Flessttighas'' already convey the feeling that it's going to be an extremely complex and difficult... complex album? yes, and then there comes a point, Dhorimviskha ends up being, in my opinion, a great entry point for those who have never heard Zeuhl, but in no way does it lose its complexity, the adorable exaggeration that this album has, when I listening to it, I was smiling, because the songs are very fun and everything is very humorous, but even so, the musicians always attack with virtuosity, technique and emotion, a great balance in that sense which in my opinion elevates this album even more , I simply love Tatsuya drums and as is metallic and fast, but he is not the only one who stands out, everyone is very capable, Koganemaru Kei solos are very unique and visceral, Sakamoto Kengo bass is very good, and in general, no musician ends being less prominent, the vocals are an interesting part, the album has no lyrics! They are just random sounds that serve to give melody to the song, very characteristic of Zeuhl, and the vocals are really beautiful, captivating and substantial.

Dhorimviskha is a party of virtuous Japanese musicians who constantly exude creativity, fun and exaggeration, each song has something to offer, with a Zeuhl wonderful touches, chaotic but well controlled melodies, varied but consistent composition, beautiful vocals, and a perfect balance between complexity and fun and the 7 songs as a whole are all essential, with Dhorimviskha, Koenjihyakkei created one of the best albums of 2018 and Honestly, despite not having listened to their discography to compare, it's difficult for them to surpass this one Album anyway, listen , both for those who like Zeuhl and for those who have never heard or like Strange music, Dhorimviskha is super worth it and is easily one of the best albums I've heard this year.

10/10