DERNIER CRI

Catchy and flowing. Chamber rock and jazz are present, but there's also quite strong march music influences somehow. Compared to Panzerpappa, Miriodor, Volapük, Débile Menthol, Etron Fou Leloublan, for example, Six Cylindres En V is a bit more traditional. It is instrumental that also diminishes the playing/fooling around (Well, there's some choirs etc.). Trumpets, tuba, clarinet, trombone and of course strong sax and drums are still cheerful. Maybe even too cheerful and even boring - sounds almost like a funny movie's background music. Yet, there's nice original astonishing things here and there, and the music doesn't differ so much from those other French style chamber rock bands, though, for example Univers Zero is much more distinguishing and dark compared to all those mentioned. One good thing about Dernier Cri is that it's fairly harmonic and not irritating. And there's diversity, for example from folky chamber music to ALAMAAILMAN VASARAT's bluesy desert jazz that transforms into samba that's totally different mood (4. Marche Piedenez). And those parts melt into a jazz - like if the whole concept named jazz, generally, is based on those two styles. My favourite songs are Mobile (5.) that has much different parts with much rest/pauses, and more avantgardistic even minimalistic touch and WAO (6.) that continues almost krautrock-like "monotonic" pumping that emerges from the previous song, but with bigger intensity. Folk music, like something like klezmer music and some zeuhl (some vocals and for example the strong drums) can be also found on this album.

If you're not acquainted with this kind of music, I maybe don't recommend this album (also because it's instrumental), but even if you aren't and you like many kinds of subtle jazz/fusion, I do. I myself wouldn't say "I do" for this in church, but for being (only) nice, I still must give 4 stars (Maybe 3 ½).

Six Cylindres En V was a short-lived combo from Reims, France, found in 1980.After some live performances they recorded an album for the RIO-oriented Ayaa label at the Bresse-sur-Gosne Studio in November 84' with Jacky Barbier as a producer.The line-up at the time was Yves Colombain on trombone, Patrick Cuisance on saxophone/flute, Marin Favre on vocals and multiple instruments, Yves Menut on vocals/trumpet/flugelhorn, Antoine Prawerman on clarinet/bass/vocals, Jean-Marc Sohier on tuba and Benoit Proust on drums.

A weird band indeed, in ''Dernier cri'' Six Cylindres En V produced out of fashion RIO music in commercial running times regarding the tracks' duration, influenced mainly by Jazz and even Classical Music, with their style being dominated by unusual rhythms and twisting lines.With a huge section of wind instruments their sound was basically driven by the trombone, sax, clarinet and tuba, offered in a classic 70's RIO style with some light atmospheres throw in for good measure.The music is quirky and usually dense with multiple wind-instrumental operations and little vocals, passing through melodic lines ala MIRIODOR and frenetic patterns with a sharp sax, a tricky trombone and a crying clarinet.There are some discreet Latin and Funk influences to be found, but the bulk of the album follows the marching sections and naughty exercises of the RIO movement.The one and only track flirting with the 10-min. mark, ''Midi a 14 heures'', is quite an epitome of the RIO fundamentals and propably very hard to be swallowed by the public at the time, full of inventive breaks and solos on wind instruments and some strong Jazz Rock tendencies due to a pronounced rhythm section.

Little info can be found around the band members after Six Cylindres En V disbanded in mid-80's.Menut propably remained within the jazz circles due to some youtube videos, Favre pursued a personal music career, while Prawerman played with the Jazz groups ''H'' Septet and La Grande Formation and worked as a producer.

Well-played RIO, more surprising is the fact that the band sounded totally uncommercial in a hard period.Nice little gem for fans of the style and lovers of wind instruments.Recommended.

SIX CYLINDRES EN V was a bizarre and utterly unique avant-prog band that was formed in Reims, France in 1980 and stuck around for four years before disbanding in 1984. Literally swimming upstream in the commercial 80s, this band featured the lineup of Yves Colombain (trombone), Patrick Cuisance (saxophone, flute), Marin Favre (vocals, saxophone, violin, percussion, baryton), Yves Menut (vocals, trumpet, flügelhorn), Antoine Prawerman (clarinet, bass, vocals), Jean-Marc Sohier (tuba) and Benoît Proust (drums, percussion) and that's right, there was no guitar, no bass and no keyboards. Just brass instruments, percussion, violin and the occasional vocals.

The band's sole album DERNIER CRI ("state of the art") has pretty much been designated to the obscurity bins with only hardcore collectors sniffing it out as the album was only pressed a single time in 1984 with no reissues to date. Due to the dominant wind section, this band sounds something like a high school marching band you would see in a parade except modeled after the angular avant-prog antics of Henry Cow's "Western Culture" along with a few more festive moments that evoke Caribbean calypso all coupled with chamber rock in the vein of Univers Zero or Present.

For those rockers who insist a guitar and bass must be part of the equation in order to qualify as rock then this one will not appeal to you in the least however despite the lack of true rock instrumentation, SIX CYLINDRES EN V did an excellent job of imitating an avant-prog rock band with the sounds of jazz. For example Yves Colombain (trombone), Jean-Marc Sohier (tuba) and Marin Favre (baritone) weave a tapestry of grooves to provide an ostinato bass line while saxophonists Antoine Prawerman, Patrick Cuisance and the trumpeter Yves Menut create the avant-prog Rock In Opposition hooks that clearly place this in the same camp as bands such as Aksak Maboul, Miriodor and Etron Fou Leloublan.

This is frenetic music for sure and qualifies for not only the avant-prog tag but also features plenty of spastic zolo moments as well as just good old-fashioned avant-garde jazz as the saxophone squawks are often out of the Ornette Coleman playbook. This is pretty much an all instrumental album with a few smatterings of vocal utterances scattered about with no meaning. Considering the tones and timbres are pretty much set in marching band mode, SIX CYLINDRES EN V were quite talented in diversifying the individual tracks so that the album keeps your attention. For example while "Mobile" comes off as a freeform jazz number, "Wao" on the other hand sounds like a Balkan gypsy polka on steroids.

Perhaps one of the most unique prog albums to emerge in 1980s France that wasn't lumped into the zeuhl category, DERNIER CRI features an interesting mix of zolo-infused avant-prog with chamber rock unlike anything i've ever heard with seven fiery musicians who are excellent in cranking out their idiosyncratic visions. Released only once by the Ayaa label in 1984, DERNIER CRI certainly deserves a proper second coming on CD as this is some dynamic jazzy avant-prog that fans of Henry Cow, Aksak Maboul and similarly minded avant-proggers will love the heck out of. Quirky and charming at the same time like a group of mutant high school marching band members that went rogue. Cool stuff.