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SYMPHONIE POUR LE JOUR OŮ BRŰLERONT LES CITÉS

Art Zoyd

RIO/Avant-Prog


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Art Zoyd Symphonie Pour Le Jour Oů Brűleront Les Cités  album cover
4.28 | 37 ratings | 2 reviews | 41% 5 stars

Essential: a masterpiece of
progressive rock music


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Studio Album, released in 1980

Songs / Tracks Listing

-Symphonie Pour Le Jour Oů Brűleront Les Cités-
1. Brigades Spéciales (13:23)
2. Masques (8:56)
3. Simulacres (6:53)
- Deux Images De La Cité Imbécile-
4. Les Fourmis (5:31)
5. Scčnes De Carnaval (8:50)

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

- Thierry Zaboitzeff / cello, bass, vocals
- Alain Eckert / guitar
- Gilles Renard / saxophones
- Jean-Pierre Soarez / trumpet
- Frank Cardon / violin
- Gérard Hourbette / alto violin

Releases information

Atem 7010

Thanks to Tsevir Leirbag for the addition
and to Snow Dog for the last updates
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ART ZOYD Symphonie Pour Le Jour Oů Brűleront Les Cités ratings distribution


4.28
(37 ratings)
Essential: a masterpiece of progressive rock music(41%)
41%
Excellent addition to any prog rock music collection(43%)
43%
Good, but non-essential (16%)
16%
Collectors/fans only (0%)
0%
Poor. Only for completionists (0%)
0%

ART ZOYD Symphonie Pour Le Jour Oů Brűleront Les Cités reviews


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Collaborators/Experts Reviews

Review by octopus-4
SPECIAL COLLABORATOR RIO/Avant/Zeuhl Team
4 stars The ART ZOYD debut album was released in few copies and it's a collection item. Any other band wishing to re-release the debut would probably reprint it. Art Zoyd decided to re-record it instead, even with a different lineup.

I have never heard the original debut, so I can't make any comparison but the fact that Zaboitzeff is classically trained makes me think that it shouldn't be very different.

The album is made of two long suites. The first which gives the title to the album exceeded the side A of the vinyl so the third part was on side B.

Let's imagine Magma without the Vanders. I mean that there is no drums and no operistic vocals, but the mixture of classic and jazz has a mood very similar to the Zeuhl founders, specially because of the use of brasses (Trumpet and alto sax) on which Zaboitzeff screams at the beginning of the first track. The orchestration is symphonic. The cello and the violin supported by the electric bass setup a dreamy classical ambient. I think that this is where the Hungarian After Crying can have take some inspiration even if probably both the bands have taken something from Stravinskij. After about 7 minutes a bass riff adds a bit of rock to the strings. The music is dramatic and engaging. Thinking to the "Special Brigades" of the title it gives the idea. The whole concept is dramatic: the album title means "Symphony for the day when the cities burned".

When the special brigades shut up the cello starts with a solo. This is "Masques" (Masks). The cello solo is melting, maybe it represents the cities after the fire. After a couple of minutes trumpet and bass break the melody and after few seconds of decoherence the bass takes the leadership. There is no rhythm of any kind. Neither the bass can lighten the situation while the trumpet plays an incredible number of notes and trills. The pathos increases. A bass note, it seems a voice, is now leading over a noisy but rhythmically static situation. After about 7 minutes it changes totally. I don't know what Zabitzeff repeats several times with his voice. It's another Zeuhl moment but the cello and the violin become suddenly rhythmic, between the Rites of Spring and After Crying's De Profundis. This is already "Simulacres" (mock), the last movement of the first suite.

This part is more rhythmic, thanks to the bass and sometimes to cello. The music is apparently unstructured but it's only an impression. The last minute is very intense with a frenetic rhythm set by bass and cello trills. It's a crescendo of tension and thrill that ends suddenly with a couple of orchestral accents.

The second suite is, I think, the avant counterpart of Dark Side of the Moon. "Deux Image De La Cite Imbecile" means "Two images of the imbecile city" and the first of the two is "The Ants". Let's imagine rows of people walking in line frenetically, like ants. Also Zaboitzeff's voice tries to give this idea when he cries something that I don't understand with a high- pitched and nasal voice. This music makes me think to some scenes of Fritz Lang's Metropolis.

"Carnival Scenes" is the second image. Effectively if you have ever been in a Mediterranean city during the carnival time (not necessarily Venice), but also looking to Rio de Janeiro, you can probably understand what Art Zoyd mean. Between the end of the first chaotic movement and the start of the symphonic second part, at about 2 minutes from the start, we can also clearly hear the guitar that's almost always present in the album, sometimes taking the role of the bass when the bassist is playing the cello. This second part is more structured, nearly rock, then there's an alternance of calm and chaotic moments. It's not properly what one can call "easy", but it's the most approachable part for who is not into this kind of music.

As always, when I review Avant/RIO albums I find difficult saying that an album of this kind is an excellent addition to "ANY" collection. One has to get used to this music before liking it is possible. However this is surely excellent and prog, so 4 stars.

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Send comments to octopus-4 (BETA) | Report this review (#553977) | Review Permalink
Posted Friday, October 21, 2011

Latest members reviews

5 stars Let's cut right to the point on this one - THIS IS MASTERPIECE DEFINED. This sets up/contributes to the future of RIO/Avante - this defines how to take orchestral instruments and somehow create music that rock (although progressive in nature) people appreciate, enjoy, and enthusiastically recom ... (read more)

Report this review (#386031) | Posted by tmay102436 | Tuesday, January 25, 2011 | Review Permanlink

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