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Heldon Heldon II - Allez Teia album cover
3.42 | 62 ratings | 8 reviews | 15% 5 stars

Good, but non-essential

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Studio Album, released in 1975

Songs / Tracks Listing

1. In the wake of King Fripp (6:36)
2. Aphanisis (2:22)
3. Omar Diop Blondin (7:26)
4. Moebius (1:52)
5. Fluence: Continuum Mobile Disjonction inclusive (12:14)
6. St Mikael Samstag am abends (6:18)
7. Michel Ettori (4:17)

Total Time: 41:05

Line-up / Musicians

- Richard Pinhas / ARP & VCS3 synths, Mellotron, guitars, tapes
- Georges Grünblatt / ARP synth, Mellotron, guitar, "Rahat Louckhoum" (?)

- Alain Renaud / guitar (2)
- Alain Bellaïche / guitar (3)

Releases information

Artwork: Gilles Caron

LP Disjuncta ‎- 000002 (1975, France)
LP Bureau B ‎- BB 281 (2018, Germany)

CD Spalax ‎- CD 14235 (1991, France)
CD Captain Trip Records ‎- CTCD-532 (2005, Japan) Remastered by Souichirou Nakamura
CD Bureau B ‎- BB 281 (2018, Germany)

Thanks to ProgLucky for the addition
and to Quinino for the last updates
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HELDON Heldon II - Allez Teia ratings distribution

(62 ratings)
Essential: a masterpiece of progressive rock music(15%)
Excellent addition to any prog rock music collection(34%)
Good, but non-essential (44%)
Collectors/fans only (6%)
Poor. Only for completionists (2%)

HELDON Heldon II - Allez Teia reviews

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

Collaborators/Experts Reviews

Review by Cesar Inca
SPECIAL COLLABORATOR Honorary Collaborator
3 stars For Heldon's second offering, Richard Pinhas had the benefit of a close partnership shared with guitarist George Grunblatt, who also collaborated on mellotron and some additional synthesizer. Alain Renaud and Alain Bellaiche also make some guest appearances on acoustic guitar and bass, respectively. All in all, an innovative facet in this Heldon album is the featured acoustic guitar: a couple of acoustic guitar duets were written by Grunblatt, which is kind of an odd thing in the repertoire of a project focused on electronic experimentation and electric guitar soundscapes a-la Fripp. In fact, most of the tracks are pretty much patterned in the mold of Fripp-Eno's "No Pussyfooting", and even the opening track has the title 'In the Wake of the King Fripp' - it almost seems like Pinhas wanted to make 110 % sure that the audience were aware of his major influence, so he even included a specific name in a track title. Evidently, the Fripp- Eno influence is there, but generally speaking, Pinhas manages to keep things from sticking onto a cloning level: he sees himself as a hair of a particular artistic wave and wants to develop it on his own for this Heldon project. Some of the VCS 3 layers feel closer to minimalistic avant-garde (Cage) and electronic krautrock (early TD, Cluster, Klaus Schulze) than Fripp himself. And there are those acoustic numbers that introduce a totally different sonic pallet into the album's canvas: they are bucolic, well rooted in a most conventional sense of melody and harmony. 'Aphanisis' is my fave one - I seem to notice some hints to good old Baroque in it. Even the electronic numbers contain some passages intended to be ethereal more than disturbing; there we have those soaring mellotron layers, which add a cosmic ambience as a proper counterpoint to the inherently oppressive nature of the synth and guitar soundscapes. There is also room for some guitar riffs and chord progressions that add an air of reflectiveness among all the disturbing mood that remains predominant (as in every Heldon album, indeed). 'Omar Diop Blondin' and 'Fluence' are, in my humble opinion, the most emblematic and most accomplished numbers of the album. As a whole, the album lacks some cohesiveness, and some passages may feel outdated, but all in all, is a very good sample of Heldon's artistic boldness, and more specifically, Richard Pinhas' experimental vision. An extra 1/2 star for my rating.
Review by Sean Trane
4 stars Also rounded up to the upper star.

Heldon's second album is much in the line of their debut but takes things a little further. Pinhas starts off with a delicious track called In The Wake Of King Fripp and with his fully distorted guitar and delicate melltron layers, we are transported directly to prog heaven. Comes next an acoustic guitar piece a bit out of context. Omar is yet another highlight but to reach the climates of the first track , one has to wait for Disjunction Inclusive which is the second part of track 5.

At this point , I would like to point out that there are many mistakes on Spalax Record label releases especially on the track listings and this album is a prime example. Our site links the two parts of Fluence to make one (giving 7 tracks total), the CD copy I have at disposal gives two separate tracks (making 8 tracks total) and the booklet counts Fluence as a separate tracks allowing for the two parts to stand separately (this makes 9 tracks in the booklet). I surely will not slam Spalax (an artist-friendly label), but this is hardly the first troublesome info given.

Outside of that problem , the records ends strangely after another cool track St Michael with Ettori. Recommended if you have started investigating Heldon with another album (ideally Interface) and enjoyed it but best not starting with this one.

Review by philippe
SPECIAL COLLABORATOR Honorary Collaborator
3 stars Mostly hypnotic electronic motifs & rhythms combined to Pinhas' Robert Fripp guitar imitation. This is not a classic but an important contribution in French electronic rock explorations. Consequently this is in the direct line of "Electronic Guerilla" but much more achieved with a few original attempts. "Allez Teia" is certainly the most recommended effort for those who enjoy Richard Pinhas' guitar style. Most of compositions feature nice extended, repetitive & moving musical pictures. Not so far from Eno/Fripp collaboration but more aggressive with a great intensity and a rather "stoned" atmosphere. "In the wake of king Fripp" is a fine variation of Pinhas' solo guitar work accompanied by atmospheric Mellotron textures and guitar arpeggios. Some tracks as "Moebius" features some allusions to the French RIO avant prog scene in its freaky, inventive proportion. "Aphanisis" is a surprising guitar composition in a relative acoustic, classical style. It shows us a new and great side of Pinhas' possibilities. An honest, convinced release one year before their seminal "Agneta Nilsson".
Review by Mellotron Storm
4 stars 4.5 stars. HELDON's debut was pretty much Richard Pinhas doing it all except for the one track he got lots of help on. On this his second album he partners with Georges Grunblatt. There's a nice picture of the two in the liner notes. Speaking of liner notes Richard thanks his idol Robert Fripp, Patrick Gauthier, Jimi Hendrix and Eno along with some others. I like what ClickForth says about this album on the RYM site. He describes it as "Hazy soundscapes that take you somewhere on a summer afternoon, required listening". I couldn't agree more especially since I was listening to this early today as I drove on a beautiful summers day through the country side. It doesn't get much better.

"In The Wake Of King Fripp" is such a great title. Gentle guitar to open as mellotron washes in and continues. Such a beautiful sound. Angular guitar comes in after 4 minutes. Just gorgeous. "Aphanisis" features some nice dual acoustic guitar melodies throughout. "Omar Diop Blondin" is dedicated to both Fripp and Eno. The guitar is darker sounding as synths join in. Angular guitar before 1 1/2 minutes. It stops 2 minutes later as we start to get these guitar soundscapaes the rest of the way.

"Moebius" is a TANGERINE DREAM like tune, very electronic sounding. Great song. "Fluence" builds as the sounds seem to hover. It's like the sounds keep coming closer then they drift back. About half way through the sounds are floating like they're suspended in mid air. The synths get louder 10 minutes in. "St.Mikael Samstag Am Bends" again feature electronics that float and hum. The guitar comes in after 2 minutes. Mellotron a minute later. Angular guitar before 5 1/2 minutes. "Michel Ettori" features dual acoustic guitars like the second track.

"Interface" , "Stand By" and this second album are my three favourite HELDON albums.

Review by ZowieZiggy
3 stars To make things clear even for a novice, the opening song is called "In the wake of King Fripp". I guess that it is useless to tell you that it is a great tribute to KC. Not the pummel one, but the melodic one (the one I prefer): great mellotron parts and hypnotic guitar all the way through. A great start indeed.

The short "Aphanisis" sounds like a delicate Hackett piece: a sweet and acoustic guitar work which has to be received as an interlude, a short breathe of air.

"Allez Teai" is more an effort of a band than the first release "Électronique Guérilla": the man in charge (Richard Pinhas) is surrounded by other musicians who are integrating some good elements to the whole. Now, a piece as "Omar Diop Blondin" leans more towards eclectic prog than to prog electronic (and the feeling prevails for each of the three initial pieces).

The spacey feeling starts with the short "Fluence" which is followed by "Continuum Mobile Disjonction Inclusive". Two distinctive tracks united by one feel: coldness, darkness, weirdness. Not easily accessible but still splendid for the lovers of the genre. Maybe not enough melodic and too repetitive to be catchy.

The KC hypnotic feel shows up back again during the fine "St Mikael?" which is another fine piece of music available. One of the best frankly.

This album is at the crossroads between "Kraftwerk", TD and Crimson. A rare mix for sure. It lacks in elegant parts (except the great opener) and therefore I rate it with three stars. A good album though.

Review by Warthur
3 stars Richard Pinhas' electronic band project explores compelling musical territory on this second album, steering between ambient electronic dreamscapes, Krautrock/Zeuhlish fury and the odd bit of Frippertronics. Although the opening track is named in honour of Robert Fripp - probably in response to his "retirement" from the music industry, though as we all know "King Fripp"'s abdication would not last for long - the most derivative track on here is Omar Diop Blondin, which sounds like an early Frippertronic experiment with Brian Eno - except I think it's actually mildly more compelling than No Pussyfooting. The rest of the album explores a range of electronic and ambient styles, with the result offering something to suit anyone with a taste for the avant, but at the same time it feels like Heldon is still searching for a distinctively "Heldon" sound, of a sort which arguably they wouldn't finally settle on until the dark, intense visions of Stand By and Inferface.
Review by Neu!mann
4 stars Don't be misled by the cinéma vérité brutality of the cover art, better suited to a Dead Kennedys LP than to a European Prog Rock album circa 1975. The second studio effort by guitarist Richard Pinhas and friends is (most of the time) actually a surprisingly mellow, almost soothing experience.

The album saw Pinhas continuing his efforts to erect a musical shrine honoring his role model Robert Fripp, believe it or not going so far as to name the album opener "In the Wake of King Fripp" (I can imagine the Crimson King shaking his bespectacled head in polite embarrassment). The track is one of several gorgeous pieces of music here, a gently unfolding study of subtle, hypnotic electric guitar textures and understated mellotron strings.

But elsewhere the album can be almost ridiculously imitative. The oddly titled "Omar Diop Blondin" (named after a militant Sénégalese activist) is an unashamed rip-off of the title track from the FRIPP & ENO album "Evening Star", released earlier the same year. The silver lining is that Pinhas could handle his guitar (and his synthesizers) with as much sensitivity and almost equal skill as his idol across the English Channel, adding a near- Krautrock awareness of radical experimentation that Fripp himself might have endorsed.

That more Teutonic side of Heldon surfaces on the album's flip side, notably during "Fluence: Continuum Mobile / Disjonction Inclusive". The name may not have the same obsequious ring as "In the Wake of King Fripp", but it's still one of the great Industrial- Ambient synth-rock track titles of all time, perfectly matching the cinematic drone of the song itself. Even better is the dark but melodic mood piece "St. Mikael Samstag am Abends": another musical refugee from the other side of the River Rhine (a better name for it might have been "In the Wake of King Froese").

There isn't a drum within earshot to interrupt the (sometimes uneasy) calm throughout the album, and the two brief interludes of unadorned acoustic guitar sound almost alarming from such a notorious musical provocateur. You'll have to look elsewhere for the usual Heldon electroshock therapy; this one has the alluring bedside manner of a well-disguised boa constrictor.

Review by Modrigue
3 stars HELDON's tribute to Robert Fripp

3.5 stars

Where as HELDON's first album was rather electronic and refreshing, the second effort "Allez-Teia" is more rock-oriented. Its violent cover contrasts greatly with the peaceful and relaxing nature of the music. More precisely, the style is very simlar to Fripp & Eno's "No Pussyfooting", released two years before. Richard Pinhas pays a warm tribute to its idol Robert Fripp here, which makes you wondering if you're really listening to HELDON. The important usage of the mellotron and VCS 3 reinforces this impression.

"In the wake of King Fripp" is oviously a reference to KING CRIMSON's second opus and its leader. A calm and soothing opener. The peaceful acoustic "Aphanisis" displays a pastoral ambiance. "Omar Diop Blondin" is dedicated to Robert Fripp. Still soft, this track is supported by Pinhas' distorted guitar. First genuine electronic moment of the record, "Moebius" features a short synthetizer sequence more typical of HELDON.

The 12 minutes track "Fluence" is the longest. The first eight minutes are mainly ambient, with sonorities sometimes reminding TANGERINE DREAM's "Phaedra". The end part reuses the short sequence from "Moebius". Enjoyable, but a bit long and repetitive. "St Mikael Samstag am abends" is more varied and interesting. This composition waeaves a mysterious, dark and spacey soundscape, with drone sound effects, guitar and mellotron. The ending track, "Michel Ettori", is a soft acoustic guitar piece, rather anecdotic.

Apart in HELDON's discography, "Allez-Teia" is their least electronic and representative album, however also their softest and soothest. Without the band's typical ramshackle, tortured ambiance and hypnotic loops, this unusual record is also their most accessible.

Let's go straight to the point: if you enjoy Fripp & Eno's "No Pussyfooting", you'll like "Allez-Teia". The reference sounds sometimes too apparent, nonetheless it can be a good entry point to discover HELDON.

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