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UZED

Univers Zero

RIO/Avant-Prog


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Sean Trane
SPECIAL COLLABORATOR
Prog Folk
5 stars UZ's fourth studio album (fifth release after the short compilation Crawling Winds) is the cornerstone of UZ's career. Up to now, UZ's music had been mostly acoustic RIO, developing sinister moods and searching for human's darker instincts. But with this fourth album, Denis was to change considerably UZ's direction and this was due in no small part to the friendly competition he maintained with ex-UZ Roger Trigaux, who had formed Present (with Denis holding the drum stool), and pushing each other to explore new musical territories. By now, Daniel Denis was the last remaining original member, Berckmans devoting his effort to Von Zamla. In comes future long time collab Dirk Descheemaeker on winds, Genet on bass and assorted string instruments, Plouvier (another future central figure) on keyboards and Mergen on cello and sax.

This album, as I said above, is the start of a new direction and can be easily seen as a blueprint for all their future album until Implosion. The music had now shifted from the sinister and macabre to the sombre and mysterious ambiances, the eastern influences being much more present (pardon the pun ;-), than previously. One of the most striking results is that the album is generally more melodious than the previous three, which often flirted with dissonance and atonal music. Here, the music has mystic and grandiose aspects not previously developed. The opener Présage is probably my favourite track as the mystery of the mid-eastern dawns (with the cello strongly inducing Arab ambiances) in a yet-asleep harem (see why I think this is their best track? ;-) and the first smell ogf Green tea as you are heading for the hamam with three beautiful creatures, and the clarinet providing the drama: this almost 10-min track is flawless. The manic Doctor Schwartz is a 100 mph nightmare with Plouvier's piano providing the base for a haunting cello and clarinet. Wrapping up the first side of this wax slice, is Celeste (with two guest-musicians), a slow-developing almost 7-min track where the piano has the dominant role until the monstrous entrance of the "beast and Delory's electric guitar (sometimes reminding you of Pinhas or Fripp) is clearly its angry scream. The only flaw I can think of is that the track ends in a fade-out.

Parade is probably where Miriodor took a good deal of their inspiration and the mad breaking noise are extremely disturbing, but the insane beat is not letting you off the hook. Centrepiece Emmanations is one stunning and most convincing track, where Univers Zero is simply taking on the role of a progressive giant group, but if it is not known widely among the progheads, it is mostly because this album was recorded in 84. Had it been recorded a decade earlier, no doubt that this album would be standing with Magma's 1001° Centigrade or Henry Cow's Legend. Denis's composing powers are simply impressive and his percussions are awesomely inventive, and the oppressive but enthralling ambiances make the almost 16-min track seem too short. In the closing section, the track diverges into electronic delirium, which some twenty years later, Denis will come back to and base his Implosion album around similar themes.

Clearly the album separating the two phases of UZ, this album will serve as a template for UZ albums for two decades to come (including Denis's two solo albums). Absolutely essential music, one if not the best album in its genre.

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Send comments to Sean Trane (BETA) | Report this review (#7605)
Posted Tuesday, November 09, 2004 | Review Permalink
relayer66@yah
5 stars This is my favorite UZ album. I'm not sure why this should be...it shows them going in a different direction than the first three albums. Somewhat more melody based but no less gloomy and panic-striken than the others. Synthesizers appear here for the first time, understated but to good effect (similar to their use in Magma's Udu Wudu). I would compare this recording to Magma (minus the chanting) or Lizard/Islands era King Crimson (in mood only). This album is a good place to start with UZ since it is more accessible than, say, 1313 or Ceux du Dehors. One highlight for me, is the end of Celesta, where what I believe is a cello, is tortured to the point of sounding like human groaning and screaming, against an ominous death riff. Beautiful stuff. And surprisingly, recorded in the '80's when most people think that Marillion was carrying the progressive torch...wrong! Not to beat up Marillion, I actually enjoy listening to them. But this is much meatier and more meaningful to my dark soul. A deserved five-star rating for one of my favorite bands.

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Send comments to (BETA) | Report this review (#37701)
Posted Sunday, June 26, 2005 | Review Permalink
erg@hotmail.c
5 stars absolutley brilliant, the first track is a masterpiece with very dark tones and shimmering playing, the brass instruments makes it sort of evil, the last track is also completely mind blowing, the best album ive heard by univers zero till now

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Send comments to (BETA) | Report this review (#82866)
Posted Wednesday, July 05, 2006 | Review Permalink
Mellotron Storm
PROG REVIEWER
5 stars Having started from the beginning with UNIVERS ZERO, the first thing I noticed when listening to this album was how different it sounded from the earlier ones. For me this is their first 5 star album and my second favourite from them after the next one "Heatwave". This one is more electric than the earlier ones and they have traded the harmonium, bassoon, aboe and english horn for the sax, clarinet and synths. I liked the way Sean Trane described the difference, it's like going from the macabre and sinister to the mysterious and sombre. Yes this still has lots of dark passages, but there is actually moments that feel like dusk, as opposed to being always in the night. The cello is used in place of the violin as well, although there is some guest violin and guitar on one track.

"Presage" is my favourite song on here. It opens with some beautiful piano before kicking in before a minute with drums and bass. This contrast continues. The cello before 3 minutes is nice as drums and bass pound away. A scorching cello melody as piano comes back reminding me of the intro. "L'Etrange Mixture Du Docteur Schwartz" features a lot of tempo changes. It slows right down 3 minutes in as piano and cello end it. "Celesta (For Chantal)" is a dark and slow moving song with piano and some guest violin leading the way. Heavy drums after 5 minutes as the guest guitar grinds away. Nice. Synths as well on this one.

"Parade" is lighter and more uptempo. A terrific collage of various sounds including horns, synths, piano, drums and cello as the tempo and mood continues to shift. "Emmanations" is by far the longest track at over 15 minutes. It rivals the first song as my favourite. It opens with lots of atmosphere that is tense and eerie. It starts to brighten a little before 2 minutes. The pace is stepped up a notch 4 minutes in as bass and drums deliver the goods. It becomes dark and ominous 5 1/2 minutes in as the climate continues to change. I like the section after 10 minutes. After 14 minutes we get some spooky and dark sounds to end it.

A nice change for the band, and they will continue on this path for their next record "Heatwave".

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Send comments to Mellotron Storm (BETA) | Report this review (#145782)
Posted Thursday, October 18, 2007 | Review Permalink
5 stars This is dark and moody Bartokian chamberesque rock at its finest. This differs from the first three albums in that it is ROCK, which I am not sure their first three albums are. Actually, this album ROCKS OUT much of the time, and as a result UZ takes their sinister approach towards RIO to an entirely new level. Speaking of RIO, these guys really sound nothing like other RIO bands that I am familiar with (except a little like Art Zoyd in their earlier albums, and maybe Etron Fou Leloublan in their later albums, but better than either in my opinion). I consider UZED to be UZ's masterpiece, and one of the greatest albums of RIO. Highly Recommended!

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Send comments to kabright (BETA) | Report this review (#163370)
Posted Friday, March 07, 2008 | Review Permalink
Rune2000
SPECIAL COLLABORATOR
Prog Metal Team
4 stars Univers Zero might have had transitional difficulties between Heresie and Ceux Du Dehors but those changes can't even come close to the grand scale transformation that the band has undergone since then.

Out with the old and in with the new seems to be the general conclusion that can be reached after looking at the band's line-up and especially after experiencing their new musical direction on Uzed. Roger Trigaux was the first to shake the band up by his departure but here Daniel Denis decided to replace the entire band for a completely different set of musicians. For me personally it is Michel Berckmans' leave of absence that feels much more prominent that anyone else because his bassoon defined the early Univers Zero sound. Still I think that it was a good decision to not replace him with a new bassoon player and instead, once again, push things forward.

They say that "when life gives you lemons make lemonade" and this saying seems to be very appropriate here since Daniel Denis's new Univers Zero took the lack of acoustic instruments to their advantage by spicing the line-up with electric sounds among the music arrangements. Michael Delory adds an electric guitar to the overall sound which is especially memorable for the daring guitar solo on Célesta (For Chantal) that always seemed to be the main topic of discussion once this album is mentioned. Jean-Luc Plouvier is still the one who gives Uzed some of its memorable touches with his synthesizer arrangements all throughout this album.

The album opens on another highlight in a sting of wonderful Univers Zero openers although this time around the synthesizer intro of Présage might have given a shock to the fan base. Luckily this shock would probably have been followed up by an enthusiastic cheer as the piece progressed. The first track is so spectacular that I personally would have loved for the band to extend it even further, which is actually the first time I ever feel this way about a long Univers Zero composition since most of them tend to overstay their welcome by a few minutes.

The next pleasant surprise that Uzed has to offer doesn't take long to arrive and it manifests itself in the first short masterpiece that the band has so far achieved. L'Etrange Mixture Du Docteur Schwartz is a crazy piece which reminds me a bit of Dense although it is even more dense in its format.

Parade is noteworthy for the interplay between heavy sounding bass and cello which adds an unexpected layer of groove to the overall sound of this composition. Unfortunately the final piece of this album strips away one of its rating stars for being the least uninspired performance that the band has so far given to its audiences. Emmanations is not really a bad composition but it doesn't justify its almost 16 minutes of playtime. The problem arises towards the middle section where the bass starts off a new rhythmic section which pretty much keeps on repeating itself for about 4 minutes.

Although its minor flaw towards the end of the album Uzed is a fresh and exciting new take on the ever so delightful music that Univers Zero has blessed us with so far. If this was the only album that the band had ever recorded then it would still be a much better recording than what many other bands can even achieve during their best moments.

***** star songs: Présage (9:50) L'Etrange Mixture Du Docteur Schwartz (3:53) Parade (6:37)

**** star songs: Célesta (For Chantal) (6:53) Emmanations (15:41)

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Send comments to Rune2000 (BETA) | Report this review (#272836)
Posted Thursday, March 18, 2010 | Review Permalink
Epignosis
SPECIAL COLLABORATOR
Eclectic Prog Team
5 stars This enchanting labyrinth of sound is solidly built and yet easily navigable. I loved it the first time I heard it, and each hearing since has yielded surprising shifts, like those topiaries in Stephen King's The Shining- surely that wasn't there all the other times, was it? These five instrumentals offer an incredible degree of compositional variance despite all of them sharing a common sound. Uzed is a fantastic work, and is certainly one of my favorites from this box of chocolates genre.

"Présage" The opening minute of this piece is hauntingly good. It rises out of the misty ether of silence and quickly attracts the attention of discord and volume. The main riff is dynamic and offers a great deal, chugging along underneath some brilliant lead instruments. The heavy instrumentation wizens away, leaving a lonely piano. Soon the most symphonic opportunity of the album arrives, full of vigor and wondrous melodies.

"L'Etrange Mixture du Docteur Schwartz" Working with some incredibly imaginative chord progressions, this piece alternates between a sinister rhythm section and whimsical woodwind interruptions before both collide in a frantic display. Growling, almost hungry bass is teased by the higher, capricious instruments, like insects and birds prancing around just out of a beast's reach. The concluding piano chords are very reminiscent of "Schooldays" from Gentle Giant.

"Célesta (for Chantal)" Woodwinds and piano provide more inspired music, but this time it carries on in a more reserved fashion. It is not until the two minute warning that nightmarish tones impress themselves upon the peaceful slumber of music.

"Parade" Like the titular event, this piece is at once fanciful and purposeful, moving at a brisk but stumbling pace. Eventually it becomes very graceful. Overall, I'd say the composition is interesting because like a parade, there are really no recurring parts- as it progresses down the street, there's something new and exciting to behold, and that's exactly what this piece pulls off.

"Emmanations" Hovering like an ominous UFO over a large city, the beginning of this lengthy work uses dishearteningly minimalistic atmosphere before becoming welcoming and inviting. Eventually it locks into a grim, expertly-crafted rhythm. The group extracts all conceivable mileage from that rhythm, until around eleven minutes in, when a bright cacophony bursts in, assuming command. The conclusion involves sounds straight out of a lonely and quiet science-fiction epic, with repetitive but hushed electronic and spacey noises, and what sounds like the garbled communication of some alien life form.

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Send comments to Epignosis (BETA) | Report this review (#276638)
Posted Tuesday, April 06, 2010 | Review Permalink
snobb
SPECIAL COLLABORATOR
Honorary Collaborator
4 stars Excellent chamber rock album. If you like chamber rock.

Neo-classical compositions, in moments dark, very calculated, are played with great mastership. In a rock manner. Balance between chamber musical component and rock instrumentation is excellent, and possibly it is main strong point of this music. If plenty of less skilled musicians tried (and still trying) to adapt classical music to more rock audience, or just incorporate some classical parts in their rock-based music, this album's music is just naturally melted one. It is almost impossible to separate both components (ok, there is third component - some jazz elements, but far not so important as previous two).

Whenever classical part (as main component) is represented by modern chamber music, with avant elements, all mixture has strong avant-garde smell. It is almost perfect album of such musical combination. And it needs repeating listening for sure.

What is not so perfect (and it is my personal taste) - music there is REALLY chamber, very static and sterile. Even using some rock instruments and sounds, in fact this album is very far from rock atmosphere of freedom. You must wear suit to listen this music and feel yourself comfortable. Nothing strange - one of very old and liveable European tradition it is. But I really would like to open the window and let some street fresh air to come to make this music not such a philharmonic example.

Very personal evaluation - 4.

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Send comments to snobb (BETA) | Report this review (#280832)
Posted Friday, May 07, 2010 | Review Permalink
Bonnek
SPECIAL COLLABORATOR
Prog Metal Team
3 stars On Uzed, Univers Zero changed towards a more rocking approach, brought about by a bigger presence of drums and bass, and even with some sparse electric guitar. The result is a good album that is commonly recognized as a highpoint in the RIO field. But in case the whole RIO idea puts you off for being too artsy and contrived, Uzed might not be the album that will put your worries at ease.

At their best, the band craft their Stravinsky inspired chamber rock into a solid and fluent listen. Not an easy-listen of course, but still with enough attention to good hooks and rocking energy. The opening Présage for example starts very fluently with a repeated theme on piano, melodic violins and energetic outbursts on drums and bass. Halfway in things get more frenzied but everything remains quite accessible and spontaneous.

L'étrange Mixture is a whole lot stranger indeed, with lots of modernist influences, weird rhythms and nervous harmonies. This is where the arty avant-garde side of this music takes over from spontaneous creativity and emotion. It doesn't really satisfy me.

Célesta is entirely different and explores a more introspective and romantic side of classic music rather then the expressionist urge that usually dominates UZ's sound. At least that is the case till they rip the calm apart with a heavily dissonant ending, even featuring some electric guitar. A masterful composition.

Parade is more up-tempo, very busy, and very nervous. As on L'étrange Mixture, my sensitive ears experience an issue with the sound on this album. I'm not a big fan of the 80's electrical piano sound here, also the thin drum sound can't charm me. Had they used a more acoustically sounding production, it might have worked better. It's something that bothers me throughout the album but especially on this track, probably because I would have liked more edge here.

Emmanations is the most difficult track on the album. It starts very appealing, thick with atmosphere, unpleasant industrial sounds and droning rhythms. Halfway in it seems to run out of fuel though. Maybe it's the clinical sound again, as I could see this working very well in a live context. However, this album version lacks the fire I would expect from this kind of music.

Some excellent tracks and some good ones, but not the UZ album that I return to most often. Something's missing and unless I found it some time, I'll leave it at 3.5 stars.

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Send comments to Bonnek (BETA) | Report this review (#283461)
Posted Tuesday, May 25, 2010 | Review Permalink
EatThatPhonebook
PROG REVIEWER
5 stars This is my first Univers Zero albums, and, in my opinion, it's one of the best Avant Prog albums ever. The year is 1984, but it could easily come from 2084, or even better from another planet. The music is so conceptually unorthodox that it really blows your mind.

Musically this album is insane: each song has a incredible sense of dark and apocalyptic, mixed with some insanity and with bizarre elements. There are many jazz influences, as well as classical ones: in fact, all the most orthodox moments are pretty classical driven. Of course, let's not forget the avant garde feeling, and the massive experimentation used here, a real sense of new and alien music.

"Presage" starts everything. After the mysterious piano intro, it get's very very interesting: basically, it sounds like jazz played by aliens, since all the instruments are driven into a completely different level of playing. The clarinet is probably the biggest highlight, giving the sound an unusual touch of madness. "L'Extrange Mixture...." is the funnest song off the album, and the shortest one as well. Some moments it sounds almost like a joke, but actually it's so serious that it seems that way. In other moments, it's a lot more rigid, but very free at the same time. The most interesting piece of music of the album. "Celesta" is played, on the first half, without any type of percussion, giving this very tense atmosphere, sometimes creepy, that seems like it will explode and finish in any moment. In fact, after 3/4 after the song, the drums come in, and the music becomes unbelievably dark, scary, mysterious, always keeping the sense of apocalyptic. Probably the most effective song of the album. "Parade" is the most unusual song, it is though probably the weakest. Some moments are very interesting, especially because of the unusual rhythms, not only for drums but even for bass and keyboards. The least effective song, and the most forgettable one, despite having interesting moments. "Emmenations" is more than 15 minutes long, a masterpiece of avant prog, a true piece of art. After the first couple of minutes, the song explodes, creating a tense and suspended atmosphere, very enigmatic and curious. The song then goes towards another direction, being generally more calm, but still very puzzling.

In conclusion, I must say that this is one of the best RIO albums I have ever heard. Giving it five stars seems perfectly reasonable for me.

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Send comments to EatThatPhonebook (BETA) | Report this review (#283701)
Posted Thursday, May 27, 2010 | Review Permalink
The Truth
COLLABORATOR
Post/Math Rock Team
5 stars Elegantly dark is how I like to describe this album, it contains some extremely dark music (not as dark as Heresie of course) but at the same time is very elegant.

The haunting opener Presage is a very mysterious and enigmatic track that after hearing it once you just have to hear it again. It's a thick wall of dark beauty that has many layers to peel through.

The second track is a little more light-hearted (if you can call it that) and seems to be there only for the purpose to balance out the material but it does it's job well.

Chantal (For Celesta) is very close to classical music but has that chamber-rock edge to it that makes the album great and in the end the track just seems very epic.

Parade is the most RIO-sounding song on the album, it's stellar guitar playing really makes it stick out. The track also should be noted for keeping the same atmosphere of the rest of the songs while it's still alot heavier.

Emmanations. That is what this album is. When you mix all of the sounds previously heard in the album into one this is what you would get. The track is a long, dark, dense path down the chamber rock road and it's a wild ride. The overused phrase "eargasm" definitely comes to mind when describing this track.

I'd definitely say masterpiece, much better than Heresie in my opinion, it contains more instrumentation which is a win.

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Send comments to The Truth (BETA) | Report this review (#331603)
Posted Tuesday, November 23, 2010 | Review Permalink
5 stars Is a masterful set of songs depicting life from the point of view of the university of nothing. Dross and hard work are peppered here and there with glimmerings of joy and harmony. This album is much more melodic and familiar sounding and feeling than I expected. (My first UZ LP was "Clivages.") Composition is very cerebral and yet performances are amazingly emotional! Such a metaphor for the human condition. The opening of "Presage" (9/10) sounds like MIKE OLDFIELD's "Hergest Ridge"! What a surprise: It's not! Still, the melodies here (and, yes, people, there are melodies) are beautiful and the music far less angular, less staccato and less harsh when compared to later UZ albums. I love the Arabian-influenced electric violin playing and bass slaps wreaking havoc within the steady weave of drums, piano and woodwinds. The shift at 5:30 to more MILES-sounding jazz sounds and structures is awesome. A little MARK ISHAM minimalism mixes in around 6:40, until a stop and slow almost TON BANKS-like section establishes itself from the 7 to 8 minute mark. The song then takes up a GENESIS Canterbury theme. (I never heard it before, but there it is: proof that GENESIS was influenced by the Canterbury Scene.) Avant garde outro bleeds right into "L'étrange mixture du Docteur Schwartz" (8/10) with it's robust bass lines (and chords) laying beat for horns. Piano chords with cello, percussion and then bassoon bass and electric piano bring the four-minute song to a rolling stop. Then the theatric (sounds appropriate for a silent film score) "Celesta (for Chantal)" (9/10) broods into our world like a provocative Chick Corea-John McLaughlin collaboration. Minor chords and oppressive periphery riffs and notes from a variety of support albeit almost incidental instruments make one wary of JONI MITCHELL getting ready to sing (ŕ la "Paprika Plains"). But then around the 5:00 mark a unified, syncopated bass & drum rhythm pounds out an obtuse beat for an ALLAN HOLDSORTH-like axe solo to bleed all over the song's last minute and a half. Wicked! "Parade" (8/10) has a much more upbeat (and, again, GENESIS-like) feel than I might have expected?despite its attempt at somber solemnity. The song's shift at the 3 minute mark allows drummer and clarinetist to go a bit wild for a bit before BURT BACHARACH-like piano, harpsichord & orchestral sounds reign it back onto rank and file. Percussionists break things up for a bit before the song winds down with its celebratory feel. The sixteen minute "Emmanations" (10/10) is brilliant! It feels like a rendering of the nefarious march of the human automaton in industrial (or maybe post-industrial?) society. (Lemmings, in the end.) (Are we sure that's not TONY BANKS on the piano & keys?) Interesting coda/outro playing out from the 12:30 mark. Coffee break? Sleep, haunted, restless sleep? Or perhaps the end of human life, the passive takeover of robots.

Amazing experience?highly recommended. Truly a masterpiece of musical expression of the human spirit. Bravo, UZ!

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Send comments to BrufordFreak (BETA) | Report this review (#459549)
Posted Sunday, June 12, 2011 | Review Permalink
Evolver
SPECIAL COLLABORATOR
Crossover & JazzRock/Fusion Teams
4 stars There is quite a change in Univers Zero's sound between the previous album, Ceux Du Dehors and this one. That is understandable, an Daniel Denis changed the entire lineup for this album.

The change is noticable immediately. The first track, Présage, while sounding very much like a Denis composition, also has an almost jazz fusion sound at the same time. It's this sound that would carry on through the next album, the spectacular "Heatwave". The next three songs, are more chamber-like, more like what we are used to from Denis and his cohorts, albeit a little more piano- heavy.

The last piece, Emmanations, is something of a mix of the two styles. With stronger drum rhythms and more prominent bass, it seems that Univers Zero is heading closer to rock territory. "Heatwave" will continue in that direction.

3.5 stars, rounded up.

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Send comments to Evolver (BETA) | Report this review (#553672)
Posted Thursday, October 20, 2011 | Review Permalink
Warthur
PROG REVIEWER
3 stars Rather like the chap on the front cover, Univers Zero were treading water here. A transitional album between the hyper-complex organic chamber rock of Ceux du Dehors and the more electronic Heldon-influenced sound of Heatwave, Uzed rather falls between the cracks, not quite satisfying either as a reinvention of the band's sound - there's simply too many commonalities with Ceux du Dehors for it to be that - or as a continuation of their old approach, which at this point is feeling rather tired. As a result, the album rather runs out of momentum towards the midpoint and I tend to pass it over in favour of its predecessor or Heatwave. Still, if you are into Univers Zero's chamber rock approach it's not an absolutely terrible example of it.

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Send comments to Warthur (BETA) | Report this review (#580146)
Posted Friday, December 02, 2011 | Review Permalink
Sinusoid
PROG REVIEWER
4 stars It appears as if Daniel Denis had transferred what he and ex-UZ guitarist Roger Trigaux had don in Present and took UZ into more conventional instrumentation and slightly more of an electric sound. And somehow within the context of Univers Zero, it still works. The main lesson to take from this is that Univers Zero can still summon very sinister atmospheres with the structure of the sound and band slightly different. There's no bassoon (the saxophones and clarinets can only compensate for so much), and the piano has an extremely larger role here than any other UZ album I've heard.

It's all about how tantalizing the opening motif is and how the band works with that motif throughout the song, which is exactly why the opening ''Presage'' track works so well. Take that innocent little piano line at the beginning and morph it into an explosive, fiery, throbbing piece of avant-prog that rivals Magma's most intense moments. Just listen to the intensity of ''Emmanations'' and try not to remind yourself of the most gorgeous moments in '70s Zeuhl music. And when the band does tone it down like on ''Celesta'', the moments of beauty are well orchestrated and give a convincingly serene mood until there are more explosions.

What I've learned from listening to UZED and listening to a few modern takes on RIO, I've realised one key thing about Univers Zero in general. Yes, they are very classical music based. Yes, they are avant-garde and proggy to the nth degree. Yes, they are quite anti-conventional and anti-commercial. But they don't let any of those traits get in the way of their music. Daniel Denis and company seem to know just how to write effective RIO works; there's no overcomplicating on any of the pieces nor are the pieces avant-garde clearly for the sake of being avant-garde. There has to be memorable melodies (or near out-of-body experiences, as is the case here) in order for the music to have long lasting impact. UZED handles this exceptionally, and it should be held as one of the proudest examples the RIO genre has to offer.

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Send comments to Sinusoid (BETA) | Report this review (#890860)
Posted Thursday, January 10, 2013 | Review Permalink

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