LES MORTS VONT VITE

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A dark, brooding masterpiece of Zeuhl influenced music, Les Morts Vont Vite is actually much closer to the chamber rock of Univers Zero, Art Zoyd or Present than it is to Magma. Ann Stewarts quasi-operatic vocals have something in common with Stella Vander's contributions to Magma, but there are no choral arrangements or massed chanting here. Instead, the vocals are frequently played off the innovative trombone (an unusual instrument in a rock context) or the squalling, distorted guitar lines. There is also little of the rhythmic development associated with Christian Vander - the rhythm section is highly skilled, but tends to play lurching, Faust styled patterns where the beat never falls quite where you expect it. Overall, the perfect soundtrack to an evening spent reading HP Lovecraft.

Highly recommended to lovers of the challenging and bizarre, particularly RIO afficianados.

An intriguiing album to say the least, and an intriguing composoitional style - largely influenced by Messaien, it would seem - where the music is composed. When it goes off on a jam, however, it tends to get lost and meandering.

Jean-Luc Herve would seem to be the driving force, as the piano is clearly guiding the way for the other instrumentalists. Ann Stewart delivers a good performance throughout, holding her own very well against the serialism and resultant frequent dischords, but with slight intonation issues.

The music, as one might expect from such extensive use of serialism, is generally dark and brooding - definitely an album for connoisseurs or those who appreciate serialism.

Mostly, then, this is a very interesting album simply from the point of view of the compositional techniques and the resultant "zeuhl" type sound - with surprising "bling" in the production given that this was released in the 1980s, but the approach is only partly successful in delivering creative music of distinction, hence this album does not achieve the "Masterpiece" status.

Neither would I say that it is essential, as it will have a limited appeal. There is an immediate "wow" factor, as the playing is tight, the overall style fresh to anyone unfamiliar with the genre, the production is crisp and the exectution mostly precise - but on repeated listens, tends to sound rather samey, and the music reveals little in any kind of hidden depths.

This is a great album to put on if you're holding a party, and want everyone to get the hint that it's over ;0)

If you don't like long and detailed anaylsis, this review ends here.

I provide the analysis partly to help give a foothold into this type of music to those not used to "difficult" styles, and partly because the music lends itself to analysis so well, it'd be a shame not to - after all, analysis is what consumate proggers do best :0)

A cell (a partial note-row) begins the work, by way of a kind of insistent fanfare. Ann Stewart has a tough job against the cell and ever-shifting brass, bass and rhythm section, maintaining semitonal dischords to sinister effect. Tiny decorations appear on the piano's rhythmic cell, and are echoed by the flute.

Around 2:30, the music drops into a dark cavern, as the drums stop to allow a development of the cell, and a buildup topped with shimmering flute.

Don't let the drums fool you, despite the amazing and largely successful efforts to blur the time signature, 3/4 is the order of the day here - but the percussive work is precise without ever being sterile, driving the work forward.

The biggest weakness really is the guitar, which, when left to its own devices, noodles about aimlessly and stands out starkly from the other instruments, which are tightly orchestrated.

The piano "solo" section around 7:30 is quite brilliant, however, concentrating on a mainly rhythmic delivery, elastically stretching ideas developed from the initial cell, and orchestrating the other instruments and voice around it into a single complex web of sound.

Around 9:30, guitar feedback provides some great ambience, and fuzz bass continues to threaten the existence of this quiet moment, despite being hushed by gentle percussion and electronic effects. The bass becomes ever more edgy, however, and the ambience becomes more and more claustrophobic in a superb build-up, which is "shattered" by gentle vocals.

This develops a nice theme of dark against light, dark eventually winning, as we knew it would, with the piano creating a rippling theme based on the cell, and the trombone and bass in full agreement.

After a while, the voice does become insistent to the point of irritating, in my opinion - I would have liked more rhythmic variation, instead of straight crotchet patterns with the occasional long note, and the entire piece falls into the trap of coming across as rather samey - but only too long by about a minute.

"Cabine 67" begins with another piano cell - but almost entirely rhythmic. The guitar, brass and organ weave atmospherics around mini-explosions in the percussion, all of which rather predict the eventual ensemble, which ambles off very nicely - but as with John McLaughlin and the Mahavishnu orchestra, the incessant noodling on the guitar rather spoils the precise composition in place in the rest of the instruments. Much more repetitive than the previous piece, the tight and narrow definition quickly loses interest - moreso given that this piece carries a 4/4 drum pattern! The chaotic build-up at the end is good.

"Yog Sothoth" begins with a low D on what sounds like the trombone - but is presumably the organ, unless the trombonist is an expert at cyclic breathing... always possible. The piano creeps in with another cell, and extends it a lttle for interest. At last we move away from simple time to more complex time, with a 5-bar pattern that passes through 4/4/, 3/4, 3/4, 2/4 and 4/4... unless something's up with my counting. Anyway, it's more interesting to work out what time signatures are being passed through than to listen to the music at this particular point. It gets interesting around 5:30, though, and a series of timbral moments are worked through, with key-shifts that are interesting, given that the true serialist approach is to remove any idea of diatonic harmony. However, there is implicit harmony of D here. I can't say major or minor, as the third is almost alternately sharpened and flatted as if by some sort of whim, but the overall dark feeling would imply the minor.

Regular 4 time is re-established around 10:00, and a hypnotic, repetitive passage provides a kind of echoing coda.

"La Ballade De Lenore" begins with what sounds like a note row, which soon breaks down into a brilliant dischort - sparse, yet rich in clashes. The voice and trombone proceed in a semi fugal style over shifting organ, and small melodic motifs continuosly raise their heads until the fuzz bass, feedback guitar and drums crash in. Almost unbelievably, the underlying time signature appears to be 4/4 - this is muddied so well that it took me a few bars to get it. Shows there's life in the old time signatures yet!

As before, the style continues, with the predictable drawing back of the drums and bass, and repeated entry with dark and somewhat over muddy textures. There are moments that are really good, and longer moments that are just meandering noodle. My favourite is the unison voice, piano and trombone section that ends the piece.

"Delear Prius" begins by conjouring up a sinister almost mediaeval or even Dark Ages world with the soprano voice separated by a cavernous gulf from the bass accompaniment and careful, precise percussion. Stabs ring out, similar to some you might hear in Orff's "Carmina Burana", emphasisng this feeling. However, the entire piece continues in this vein and only develops on a small scale, with little changes in the musical motifs, which leaves this feeling somewhat plodding and lugubrious.

And so the great finale, "J'ai Vu Naguère En Peinture Les Harpies Ravissant Le Repas De Phynée". This begins with crashing introductory chords, in similar style to the opeining "fanfare", and maintains the "Dark Ages" flavour, with ever-increasing crashes. The bass and wild, feedback driven guitar promise the build-up from hell, but it is soon apparent that this is not going to be delivered, and the rest of the piece simply uses this idea to pad out the time, it would seem.

A disappointing ending to what could have been a great album, if only there had been some more actual musical development, instead of the microscopic development "in the small". While this sort of minimalism may appeal to some, I would not recommend this album to everyone, and certainly not to anyone who is unfamilar with either zuehl, minimalism or serialism. The surface "bling" may appeal to someone who wants something quite radically different in their collection - but I'm willing to bet that this is not an album that makes it to the stereo on a regular basis, or even gets end-to-ended very often.

Maybe all this a bit academic, but Shub Niggurath appear to be presenting the music in an academic kind of style, and I feel, only partially achieve the objectives. Hence a solid 3 stars - a good album showing great potential in a difficult style, but of limited appeal and somewhat basic when you consider the scope of what could be done using serialism and imaginative composition.

If the other Shub-Niggurat album was a really perky album with its twisted odd ditties, this one goes a slight bit deeper in the depression. This album makes Univers Zero's world like Univers Billions $ as this is really BLEAK and gloomy and send gothic rock groups back to their cribs. The album takes its name after the 1839 Horace Vernet painting gracing its sleeve.

I have, because of my RIO tastes, heard many sombre album, but like this one, I must say that it might be among the top five along with Present's first two and UZ's Heresie, while not delivering as much energy as those. This album with its gloomy soprano vocals close to classical music and rather complex structures also does hint clearly at some Zeuhl influences, but we are clearly on the outer fringes of rock music more like Avant Rock. However impressive this album maybe, one of the main gripes I have with it, is its repetitive nature with the same endlessly slow patterns and booming bass thumping allowing of course for plenty of doomy guitar wails and gloomy organs, but this comes back on almost every track. But Shub-Niggurat is not just content on slow macabre paces, as when La Ballade De Lénore picks up speed they get down to even more ignominious moods, prompting even Dracula to take the night off!!! (Yes, THAT bad!!!!!!! ;-)

If one day your kid-cousin is turning towards goth rock, and you would like to get him interested in a proggier current than his actual tastes, you might want to introduce him to prog rock through a band like this!!! No doubt he will be impressed and maybe . just maybe ... also interested enough to borrow the album to his buddies and who knows what could happen? Worth a shot, aint'it?

This second generation zeuhl album is somewhat legendary for its aggressiveness and dark atmospheres, which are on a par with or perhaps even eclipse Magma's at times. Since zeuhl is a genre created by one man, Christian Vander, it's perhaps unfair to judge an album poorly because it sticks to the zeuhl script too closely. Having said that, this album is so Magma-ish that it could be Magma! All the hallmarks are there- dissonant, high pitched vocals, tinkly piano, clattery drums, wildly overdriven bass guitar, although Shub- Niggurath does offer something a little different- a lot of crazy feedbacky sorta-jazzy avant garde guitar solos. The atmosphere of the record is certainly dark, oppressive and violent, making for a cathartic listening experience to say the least. The musicianship is impressive, though not quite up to Magma standards. Certainly anyone interested in zuehl should have this album, if you don't already. It's an essential in the (sub)-genre.

I have been lucky enough to obtain this vinyl in recent years, and was totally blown-out by its blinding complexity. The Zeuhl factor is present (I'll spell 'Zeuhl' correctly, this time around - confusing word that is) but that's only applicable courtesy of the rhythm section ; a de-tuned fuzzed-out Bass sound and the crisp and heavy drumming that is imperative to this sub-genre, is featured throughout. The guitar sections are abrasive and harsh, but in-keeping with what is being presented. Atonal vocals from Ann Stewart (usually sung in a tri-tone to the key of the music) creates an unsettling, disturbed air to the pieces here, and that's built upon by Veronique Verdier's Trombone parts, and Jean-Luc Herve's keyboard rig (consisting of a UNIVERS ZERO combination of Organs, Harmonium and Piano), resulting in a Zeuhl styled Rock-In-Opposition recording. It is extremely difficult to put this one into words. It can make you laugh, cry, angry, it can repulse you, it can turn you on - this is a one-in-a- million recording, and, if you're in the mood, it will undoubtedly impress. It's not for everyone, but if you're willing to pay your money and take your chance, it should deliver. 5/5. (Word of advice - don't put this one on if you're making out with your woman......)

I finally got my hands on a copy of this legendary album.Thankyou Greg Walker who just recently got some copies of this cd in to sell.It was worth the wait,and it exceeds the hype.I have never heard anything more sinister in all my life.And i have some pretty dark and scary albums, but this stands alone.I thought of PRESENT,ART ZOYD and UNIVERS ZERO, but what i love about this one is the in your face fuzz bass,the amazing drumming and the distorted,abrasive,scorching guitar sounds.Trombone is prominant as well and of course Ann Stewart's vocals which have been described as soprano but restrained and mono-toned, really add to the spooky mood.Haunting keys and harmonium along with some great organ runs round out the instruments.This band gets their name from a monster in one of H.P.Lovecraft's novels. "Incipit Tragaedia" opens with some sparse dark piano as trombone and light drums then vocals come in.It's building.It stops 2 1/2 minutes in as trombone takes over.Piano and drums return.Harmonium slithers in.The guitar starts to make some vicious noise.This is what fear sounds like.Piano becomes prominant 8 minutes in with vocals following.Check out the monstrous fuzz bass 10 minutes in as it comes and goes.The tension builds 11 1/2 minutes in as it sounds like spirits crying out.Vocals are back after 12 minutes with a lot of suspense.Piano is back and then trombone as the pace picks up.Fuzz bass joins in too.It ends with some passion. "Cabine 67" opens with piano as drums and trombone help out.No real melody though until 1 1/2 minutes in when the tempo picks up.The guitar is ripping it up in an avant-garde way.Check out the drumming to end it. "Yog Sothoth" is dark with piano to begin with.A dramatic entrance of vocals and drums 2 minutes in then the trombone arrives.Check out the scraping sounds and distortion from the guitar 3 1/2 minutes in as the drums pound away with presicion.Nice.This is the closest thing i've heard to what the abyss must sound like.A calm before 5 1/2 minutes in.Screaming guitar 7 minutes in with fuzz bass.Another calm 8 minutes in.The vocals are hypnotising 10 minutes in with piano as guitar and fuzz bass(both from hell) cause a disturbance the rest of the way. "La Ballade De Lenore" opens with what sounds like church organ before trombone and vocals join in.Drums come pounding in after 2 1/2 minutes as guitar and bass create chaos.It settles after 4 minutes as church organ,trombone,bass,drums and vocals deliver darkness itself.A change 6 minutes in as organ,guitar,bass and drums get very intense.It's slowly building to the end of the song. "Delear Prius" opens with vocals and trombone as drums slowly pound like we're marching to our deaths.Piano 2 1/2 minutes in.Check out the fuzz bass! "J'ai Vu Naguerre En Peinture" features vocals and a dark mood as trombone plays. 1 1/2 minutes in it gets crazy with those intense,otherworldly sounds.Dissonant guitar is ripping it up while drums pound away.Vocals are back to end it. For me this is unique, with the prominant fuzz bass and avant-garde guitar sounds in a dark nightmarish background. This is music for the night.This is darkness.

There is beauty in darkness.

When I am asked the question "what is the most extreme music in the world", I always point them in this direction and towards this band. The opening minutes of this album, the song called Incipit Tragaedia, is enough to scare the sanity out of most people. At the same time, this song is also beautiful. Herein lays the essence of this album.

Atonal melody lines is the bedrock this album is built upon. The mostly atonal vocals by Ann Stewart is supported by the mostly atonal guitars from Franck Fromy. This is again supported by the very impressive thundering bass from Alain Ballaud. But most impressive of all is Michel Kervinio's drumming. All this is supplemented by trombone and tangents. In short, the recipe of Dante's Inferno. Something it is not meant to be. According to Franck Fromy, this is a kind of a romantic album, playing with the abyss. OK..........

The result is a masterpiece and an essential album in my record collection. I find it flawless in it's creativity and in it's deliverance. It is an album much more in common with Richard Wagner and classical music than rock music. It is one of the most ultimate expression of esoteric, dark music. It is darker than all black metal albums put together. This is to me the ultimate Zeuhl and RIO album.

In short, a masterpiece.

5 stars