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Patrick Vian

Progressive Electronic

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Patrick Vian Bruits Et Temps Analogues album cover
4.18 | 22 ratings | 4 reviews | 32% 5 stars

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Studio Album, released in 1976

Songs / Tracks Listing

1. Sphère (6:10)
2. Grosse Nacht Musik (5:05)
3. Oreknock (6:45)
4. Old Vienna (2:10)
5. R & B Degenerit! (6:10)
6. Barong Rouge (4:10)
7. Tunnel 4, Red Noise (4:30)
8. Bad Blue (1:56)
9. Tricentennial Drag (2:20)

Total Time 39:16

Line-up / Musicians

- Patrick Vian / Moog & ARP 2600 synths, Moog sequencer, piano (8), composer

- Bernard Lavialle / guitar
- Georges Granier / Fender Rhodes, marimba, noises
- Mino Cinelu / drums (1), percussion (3)

Releases information

Artwork: Georges Lacroix

LP Egg ‎- 900.541 (1976, France)
LP Staubgold ‎- staubgold 126 (2013, Germany)

CD Staubgold ‎- staubgold 126 (2013, Germany)

Thanks to ? for the addition
and to Quinino for the last updates
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PATRICK VIAN Bruits Et Temps Analogues ratings distribution

(22 ratings)
Essential: a masterpiece of progressive rock music(32%)
Excellent addition to any prog rock music collection(36%)
Good, but non-essential (27%)
Collectors/fans only (5%)
Poor. Only for completionists (0%)

PATRICK VIAN Bruits Et Temps Analogues reviews

Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by Dobermensch
3 stars An altogether different proposition to his previous band 'Red Noise's' 'Sarcelles Lochères' which appeared 6 years earlier. This is far more synthetic and electronic in application. It's a pity it has only been released on vinyl (as far as I know) because this would sound great cleaned up for a cd release.

There's some out of place guitar on the first track, but it's pleasant enough with it's synthesised sound. It's what follows that is particularly good. Lots of really nice 70's electronics, ethnic percussion and jungle sounds.

'Old Vienna' pretty much sounds like a track from Wendy Carlos' 'Clockwork Orange'. He's got that Tangerine Dream throbbing bass thing going on in the background which helps quite a bit as I'm a sucker for that kind of thing.

There's really quite a lot going on here, with 'Barong Rouge' sounding very Gamelan in nature with reverbed guitar and metallic pots and pans being thwacked.

You also get some early sequencers thrown in along with squelches and squeals from various electronics. Slowed down and speeded up tape samples along with Laurel and Hardy car horns makes my day towards the end.

I feel rotten giving this a three rather than four star rating. Probably because it's on crackly old vinyl. Harumphh!

A pretty good effort

Review by admireArt
5 stars Yes, 5!

PATRICK VIAN's, "Bruits Et Temps Analogues" is using Prog labels a 1976 electronic music work which goes from Prog Electronic to Prog's Crossover and then also other un-proggy destinations. To try to nail this whole work, I will mention "progressive electronic aesthetics" + "World/Jazz-fusion without the "exotic Imperial approach" + "serious music composition", yet unpretentious, just truly creative and from there to "contemporary classical music" structures with brushes of Prog's "Symphonic" styling and RiO's daring proposals and the inevitable "Ambient" tagging.

It will be unwise for a single artist´s release not to mention the impeccable musicians alongside Vian's moogs and piano. Drums are poignantly and cheerfully played by Mino Cinelu well acquainted in fact with a wide spectrum of Prog bands (Gong, Weather Report). Percussions run on the hands of Georges Granier who also adds Fender Rhodes, marimba, noise and "scissors" to his collaboration. The very welcomed flavor of Bernard Lavialle (Ame Son) , on the electric guitar makes this album "rock" where needed and soft if it happens.

What else can I say............ It is completely absurd to miss this ***** 5 PA stars work, now that you know about its existence "and miss the "bliss".

Review by Aussie-Byrd-Brother
SPECIAL COLLABORATOR Rock Progressivo Italiano Team
4 stars French artist Patrick Vian, formerly of Seventies avant group Red Noise, released his one solo album `Bruits Et Temps Analogues' in 1976, and what a baffling yet intriguing electronic-related album it is. A colourful and confusing work that perhaps occupies the mindset of Vangelis' unconventional albums from the same decade, or even Manuel Göttsching's Ashra in just a few moments, but without leaving quite as much of an impression as those works did, it's a mix of progressive-electronic, jazz/fusion, ambient, blues and avant-garde that makes it quite fragmented and disjointed, yet full of experimental potential that was never followed up on.

Chilled bluesy guitars may burn over whirring Moog and trilling synths throughout opener `Sphere', but `Grosse Nacht Musik' is pure floating electronic ambience full of mystery and wonder, and one of the best pieces on the LP. Quickening murky loops, drowsy guitar bends, lonely faraway flute, gentle sounds of nature and hypnotic electronics drift through `Oreknock', which might have easily come from the early Deuter albums, and the Vangelis-like synth experiment `Old Vienna' closes the first side.

Glistening Fender Rhodes electric piano and slow-burn funky guitars weave between splintering synth ripples on `R & B Degenerit!', percolating percussion carefully builds behind marimba as the Gong-like `Barong Rouge' slowly unwinds (unsurprising to find guest musician Mino Cinelu here, who actually played on that band's `Shamal' album, and in Zao and Weather Report), the maddening sequencer patterns of `Tunnel 4, Red Noise' cause instant mind-meltdown via bubbling freeform electronic nightmares, as if the groaning hostile mutant offspring of Pink Floyd's `On The Run' and mid Seventies Tangerine Dream are making violent love, `Bad Blue' is a jazzy piano interlude with a hint of darkness, and `Tricentennial Drag' is a fractured cut-up sound collage.

Fascinating, frustrating, unique and frequently gently precious, Patrick Vian's `Bruits Et Temps Analogues' is maybe not essential, but it still makes for an interesting and diverting little electronic curio that holds real magic in a few little spots, while also growing stronger with each listen. Electronic listeners, take a break from the big names of the genre and explore the little guys like this one, easier than ever before with the recent CD reissue!

Three and a half stars, rounded up to four!

Review by Progfan97402
5 stars I bought a used LP of this in 1997 just from being allowed to listen to it at a Seattle record store (which sadly went defunct at the end of 1997) and I brought it home and was just blown away by it. One of the finest albums I ever bought without knowing a single thing about the artist. Of course now I know he's the son of Boris Vian, and he was in Red Noise in the early '70s which more emphasized the bathroom humor-side of Zappa than anything he did on Bruits et Temps Analogues. Bruits et Temps Analogues is apparently the very first release on the rebooted EGG label (the label previous existed in 1969-70 that released albums like Cruciferious and Original Popcorn, and featured a completely different label from its much more famous late '70s incarnation). This is some truly amazing electronic music that frequently draws comparisons to Heldon, but with a jazz influence from time to time (helps that his dad, Boris, was from a jazz background). The Heldon comparison helping that the cover bears a resemblance to Heldon's 1978 album Interface, although that album was still two years away. Here he gets help from percussionist Mino Cinelu (Miles Davis, Weather Report), Bernard Lavialle of Ame Son, and George Granier on electric piano. "Sphère" starts off with a bit of guitar but then the synths kick in with lots of synth pass and synth soloing, with nice vibes to go with it. "Gross Nacht Musik" is a wonderful piece emphasizing sequencers while "Oreknock" has a World Music feel to it, a bit African with marimbas but with lots of synth bass and the use of the Moog IIc modular. "R&B Degenerit" contains lots of funks electric piano and synths that really go off the deep-end. "Tunnel 4, Red Noise" may reference Patrick Vian's old Zappa- esque band, but at least you won't get references to the "wee stained floor" and instead the most out-there thing on this album with loud synth noises and a very unsettling vibe. "Bad Blue" is a jazz-piece but instead of a stand-up bass, an ARP 2600 was used for the bass lines while real piano is used, in that jazzy manner. "Tricentennial Drag" was an obvious reference to the US Bicentennial (as it was celebrated a month after the album was recorded), with sounds of drag races, a military band playing "Marines' Hymn" and lots of weird electronic sound effects in between it.

A lot of albums I've own for a long time seem to date me quite a bit, but not this one. This album had really stood the test of time and demonstrates how much I still enjoy it as I did on a blind buy in 1997. Of course even in 1997 I was wanting that kind of electronic music and it hardly disappointed. Really worth your time to check this out!

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