ON N'A PAS FINI D'AVOIR TOUT VU

4.75 stars really. One of those hidden gems from the not yet totally discovered French jungle (this one dates back from 71) it was released on the Futura Label (only five or six albums before extinction) . The common error that most review makes is to mention Jethro Tull just because there is a flute. Ofr course there is a bit of that but also much more. Of real interest is a cover of one of my fave Beatles number Come Together but instrumental . Yes sir! Instrumental! Great interplay with all the musicians makes this album a valuable pearl to you would sorry to miss out on.

Some well played fusion hailing from France here! The flute player apparently studied under Ian Anderson and its apparent once you hit track 4! Michel Edelin is just as good as the master and adds his own interesting twists. I would say Triode is a mix between Tull, Focus and Yezda Urfa (I mention YU as it is fast paced and energetic). Be sure to check out this rare gem any way you can!

Michel Edelin is a great flutist, has nothing to say it. Pierre Chereze a great guitarist. The titles are nice, air, all very musical, besides, there are no vocals on the album. Pierre Chereze debuted here with success. The music is progressive rock stable and break near the jazz rock sometimes, probably because of the high level musicians. The drums are very thin slightly ethnic, titles are very square. Michel Edelin with the omnipresence of his flute triode can be considered as a group near Focus see Jethro Tull, though he does not like them, to classify more on the side of progressive rock jazz fusion rock instumental.

Triode is a total obscure and forgotten french psych prog band from early 70's who manage to release a sole album in 1971 named On N'a Pas Fini D'avoir Tout Vu at Futura label. The album will be released on CD by Mellow records almost 30 years later. The album is instrumental entirely dominated by excellent flute playing by Michel Edelin, who will please fans of progressive music for sure, the similarity is with of course Jethro Tull or some bands from canterbury from that period, maybe early Caravan or Traffic for ex, but Triode playes a more jazzy kind of instrumental prog with fascinating flute interludes.The psychedelic sound of the guitar combined with brilliant flute chops gives overall an excellent example of how great and imaginative were the bands in the '70's in progressive rock movement. The album is up tempo, not a single piece is weak, nice musicianship, specialy on opening track Magic Flower, Moulos Grimpos, Blahsha or the cover of Beatles - Come together show a band in big form, but with all that they remain totaly unknown to larger public, even in prog circles is kinda forgotten. I will give 4 stars for sure, excellent ex of early french prog, with a lot to offer, nice cover art btw, one of my fav from prog. Recommended

TRIODE were a French band who released this album back in 1971.This is an instrumental record with no keyboards which intrigued me to say the least. The flute and fuzzed out guitar takes turns leading the way (mostly flute though) while the bass, percussion and drums support. I must admit that this album didn't really remind me of any band in particular, this is just good intrumental music.

"Magic Flower" is bass, drum and flute led early. I like the drumming after 2 minutes. Just a great sounding opener. "Misomaque" is more uptempo and dynamic as the drums, bass and guitar lead before the flute joins in. Guitar to the fore 2 minutes in to end it.

"Moulos Grimpos" opens with bass and drums and it's laid back. Flute joins in as it stays mellow. Some fuzzed out guitar after 2 minutes. "Blasha" is uptempo with bass and drums before the flute and guitar join in.The guitar lights it up before 2 1/2 minutes then the flute returns before 4 minutes.

"Lilie" is a groovy number with some far out flute while the drums and bass support.The guitar replaces the flute after 2 1/2 minutes then the flute returns before 4 minutes. "Ibiza Flight" has a good bass intro as the drums help out.Guitar and flute then join the party. A guitar solo after 2 minutes that lasts a minute then it settles back. It picks up again late.

"Adeubis" is a short flute led piece. I do like when the guitar comes in though before a minute. "Come Together" is THE BEATLES track that they have covered. Interesting to hear that flute-voice-over early on in this instrumental version. I like the fuzzed out guitar after 2 minutes and later before 4 minutes.

"Chimney Suite" is by far the longest track at under 9 minutes. Flute,percussion and bass lead as the guitar joins in quickly. Flute leads after 3 1/2 minutes then the guitar returns after 5 1/2 minutes and proceeds to rip it up.The flute is back leading before 7 minutes.

4 stars and well worth that rating.

The sole album by this enigmatic quartet finds them wearing their Jethro Tull influence on their sleeve, with Michel Edelin's flute work and the performances of the rest of the band highly reminiscent of the band's early work as documented on Living In the Past. The major difference here is that Triode are a vocal-free unit, delivering a suite of all-instrumental flute-based prog numbers (though listeners will have trouble not singing along to the cover of the Beatles' Come Together). So, the social commentary and lyrical wit which you might usually associate with Tull is set aside, and the performers add additional layers of complexity to their playing in order to fill the gap. Worth a go unless you really don't like flutes in your prog.

Your pet's fave

One of the most delightful and charming little albums you're ever likely to come across, Triode's sole album is the sort of album that washes your hair before it sings gently in your ear.

With a flute song from distant gardens and a genuine feel of 1970s nostalgia with twinkling cymbals, wooden congas and a slow coarse guitar that sweeps its way through the music like a janitor on acid, - the music filling up your room is one of slow hazy psychedelia lead jazz rock. Every time I play this one, I get the feeling of sitting on a heather shrouded meadow with all kinds of freaky people hanging around on the grass - eating fruits, grooming beards, jumping through fiery hoops, making love in trees and generally just having a funky good old time with everything. This music is being played continuously from up on high, where small midgety folks have decorated the forest treetop line with dozens of Bose speakers. It gives off a certain frivolous kitchen-party-in-the-rough kind of feel, and instantly makes people feel better about their lives, what they're doing with it, and perhaps moreover forget everything nasty in it. Triode feed off your willingness to become one with your lawn, and while not far off Jethro Tull's bluesy flute rock debut - this one seems altogether more with it - in tune with the times surrounding it. Sure it sounds like it was made in 69 with all the bluesyness of the guitars and bass licks, yet the nicely recorded percussions as well as the delicate and jazzy flute make this thing into something timeless.

I like to listen to this at parties, where I sneak in with my I-pod and wait for people's incompetence to play music continuously, and then swooof like a great big leopard I swoop over the controls and let this wonderful chill, saucy, funky, warm, electric, sweaty, jazzy, bluesy and earthy like the very colour of its cover art - music roll over the unsuspecting crowd.

There is indeed something earthy about Triode. An immense musical root network which has buried its feet deep beneath the surface of the soil........... Maybe that's why I always get these hippie images of heathers and people partying on lawns with this thing? Either way, it's the single most alluring part of this album - that warm, earthy feel permeating it.

I played this to my black bird friend I've named Charlie. He sits in the highest pine tree in my folks' garden. Come noon he'll be tooting his horn about whatever it is that birds talk about (Flying methods and possible readjustments perhaps?), and here the other day I had this album playing from a small pair of MP3 speakers resting cosily in an Agave cactus. The moods of the flute seemed to interest him, and at one point I was under the impression that he threw a spastic fit, during a flute spitting manoeuvre of one of the more rocking sections - completely out of his head jumping halfway down the branch - collecting himself enough to jumble back on top of it with an intensive and life invigorating PEEEEP - the likes I normally only hear when there's brown feathered women about him.

So there you have it. This album is so good, it naturally attracts different species. Just think about what amazing get togethers you could throw, if you would be able to expect giraffes and squirrels attending.

Short-lived quartet from Paris, gathered around flutist Michel Edelin, guitarist Pierre Chereze, bassist Pierre-Yves Sorin and drummer Didier Hauck.Triode were around since 1970 and they recorded their debut at the Studio Europa Sonor in Paris sometime in 1971.The album was titled ''On n'a pas fini d'avoir tout vu'' and was released on the Futura label.

With no singer in the picture Triode played an attractive instrumental Progressive Rock, which was equally showered by psychedelic and jazzy influences, fronted by a tireless Michel Edelin on flute and the effective, accompanying team of Chereze, Sorin and Hauck.The music is trully interesting, sometimes loose and sometimes pretty tight, with many flute solos in the vein of JETHRO TULL and some furious guitar plays, while the rhythm section is especially great during the fast paces.There are even some mellow parts with a bluesy sound and a more apparent folky color in the flute lines, which sound a bit outdtated.The focus here is on the dense pieces with the solid instrumental interactions, the freedom of Jazz in the accurate and well-executed solos and the complicated, very technical rhythm section.Incredible bass work by Sorin and frenetic drumming by Hauck complete a splendid effort of passionate instrumental Rock exhibition.Plenty of Chereze's guitar moves have a definite JAN AKKERMAN touch and certain references to FOCUS' more jazzy moments, but I guess the man had never heard of the Dutch neighbours then, we are talking about early-70's here after all.Especially nice are also some sweet interplays with a bit of melodious leanings in the process, a different side of an otherwise quite jamming band.

Triode disbanded in 1972 with Edelin releasing some personal efforts and establishing the Michel Edelin Trio/Quartet, Chereze released numerous singles and albums as a solo artist, while Pierre-Yves Sorin played as a session man next to huge names of Jazz Music and eventually teamed up again with drummer Didier Hauck on Jazz Sextet.

Freaked-out Jazz/Psych Rock with tons of flute and electric guitar moves, sounds pretty jamming for today's standards, but this was certainly a pretty fascinating album back at the time.Strongly recommended...3.5 stars.

Triode was a short-lived eclectic prog band from France, with this sole album being their testament to time. It's very much on the calmer side of the eclectic sub-genre, with early Jethro Tull being the biggest inspiration behind their music. I'm talking mainly about Stand Up and Benefit with an instrumental twist, more of a rock aspect entwined within their sound. Ultimately, it's a good album. It's got a cool jam band vibe going on combined with the overall more relaxed yet technical sound going on in the record. Another point that has a big influence on the music is jazz and blues aspects. I will give it respect for the band being able to stand on its own feet in terms of music on this album, but sometimes I feel the band is losing a bit of creativity. By that I mean the band is leaning too much on other influences and not trying to branch out into their own sound. 

Moving on to the actual album, all the tracks follow this rhythm that seems to be instrumental jams and melodies accompanied by individual solos. Some of my personal favorites are Magic Flower, Blahsha, and Ibiza Flight. For me, Chimney Suite is the strongest track off this record. It essentially combines the best aspects of the album into one eight-minute-long track, and it serves as a good closing to the album. The solos on these songs are also great, with a high level of musicianship and technicality being shown in them. Especially when it comes to the flute, with it being played at nearly every possible moment. This record also has a cover of Come Together, which feels a bit uncanny with the flute substituting the vocals and the song being played in a whole different style. Their flautist, Michel Edelin, is a very talented one, and I must give him credit where credit is due. The overall rhythm section the drummer and bassist keep is also incredibly strong and keeps the whole album rolling at a steady pace. Something they could've used, though, is a keyboardist. Maybe some organ and piano could've spiced this band's sound up a bit. If I had to make one complaint, though, it would probably be that the constant repetition of the idea of "instrumental jamming and flute solos" can get dry when you're multiple songs in. 

In conclusion, this obscure gem offers some good material, but it's far from being one of the greatest. It certainly has its high points, and you could argue it has no bad songs but rather just songs not as good as others. A strong 3.5 is the best rating for this album, but I'll round it up to a 4/5 for the progarchives because of the musicianship.