ENTREVUES

Space Art is an electronic duo from France that had the distinction of releasing two rather unique and tasteful albums in 1977, the year punk reached the top and rendered prog somewhat temporarily obsolescent. The self- titled debut and the follow-up "Trip in the Centre Head "contained some fine electronic music that had also the benefit of being well received and critically applauded, even though the melodic French school is quite different than the more efficient and mathematical German one. Artists like Hydravion, Space, Paris France Transit, JP Rykiel, Dominique Guiot, Ose, Philippe Besombes, Ted Lasry and Molecule, to name only a few other than the legendary JM Jarre (for whom the members of Space Art played with in the 80s as touring musicians) carving out quite the reputation worldwide for offering a simpler, more accessible style of electronic music than the psychedelic giants from Germany.

Out of the blue, Space Art returns in 2020 after a very long absence, with a remix of old surviving tapes that keyboardist Dominique Perrier decided to release, even though drummer Roger Rizitelli had passed away in 2010. The results were well worth the wait as the compositions are mature and enticing even upon first audition, with tons of staying power. This becomes quite apparent on the opener "Lunes", which sets the bar quite high, as a surprising piano melody shapes the track as it slowly muscles forward for the next 4 minutes. It sounds like a long- lost classic within a few seconds, as the theme is utterly gorgeous, while the mid-section offers a typical jazzy interpretation, along with a swerving synth solo of the finest order. The next track is exploratory and adventurous without the need for ambient textures as its quite vivacious in its own right, the real drums adding muscle and depth to the twirling sounds. Fascinating. The more up-beat "Retrouvailles" offers a breezier synthesized sunshine colouring that has the drums thrashing about joyfully, as the fragrant synths lines flutter like a dancing butterfly. Short and sweet.

"Meteo" has a main melody strangely reminiscent of In the Court of the Crimson King that can do no wrong, a 6 minute plus foray into symphonic realms that works itself up into a frenzy, with a screeching guitar-like synth solo that creates havoc, as its so unexpected. Musical weather patterns that seem to change on a dime, just like the climates we all currently have to deal with. The final minutes is where the symphonic bombast kicks in, a glorious melody that lingers in the mind.

Playful and almost mischievous, "Inox" is a brief little ditty that has superlative drumming as well as that light and cheerful feel that gives this band the credibility of having an expanded repertoire of creativity, never too serious or too easy. As proven by the next piece, the aptly titled "Atmosphere" where the two polar opposites re-unite under the guidance of an ornate piano and some great synthesized orchestrations. It all sounds so effortless and pleasantly attractive. Halfway through, it veers off again into the jazzier zone while still incorporations odd sounds, constantly evolving and searching out new tonal horizons. Truly magnificent.

A fun side? Mais oui, les amis! The nearly 3 minute long « Space News" sounds like a broadcast theme for a TV station, complete with voice effects, oddball screwing synth flips, bass synth rumble and those shuffling drums! The segue into "2B" is equally unexpected, with all kinds of colliding rhythms and melodies, actually quite a complex blending of sounds that keep one on their toes. Nothing lingers on too long, no filler, no lack of direction at all. All is super tight and to the point, creatively astounding electronic music of the finest caliber.

The finale is unfortunately the most "techno" piece here, as its laden with all the classic and predictably formulaic sounds such as vocoder, whoop-whoop synths, clapping electronic percussion. It's a remix by some artist called Diakar, and honestly, nowhere near the quality and imagination of the 8 preceding tracks. Well, keeping this at the very end certainly sent a message.

The cover art maintains their famous late 70s computerized logo and is a real treat. An unusually exciting as well as totally unexpected release that will surely, please many melomaniacs

4.5 interviews