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ARNAUD BUKWALD

Eclectic Prog • France


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Arnaud Bukwald biography
Self-proclaimed underground troubadour Arnaud Bukwald, a native of France, is certainly one of the more unique creative forces to enter the prog sphere in the 21st century. With a whimsical, unpredictable approach to composing music, Bukwald's output is every bit as eccentric as it is eclectic. After the world music-oriented Moondragore - ethnic collection, Bukwald's prog career began with the 2011 album bizarremporium. A humorous, almost vaudevillian work, bizarremporium marked the beginning of Bukwald's signature style, mixing jazz and psychedelic rock in a soundtrack-like context. Over the years, Bukwald's music shifted away from its jazz-heavy roots and began to explore psychedelic influences to a greater extent. Although his later output, such as 2016's la marmite cosmique trilogy, puts less emphasis on jazz than on his earlier works, fusion elements are still to be heard, in addition to space rock, electronic, and even symphonic-style keyboard work. For those who like their prog whimsical, Arnaud Bukwald's strange catalogue should offer plenty of amusement - and perhaps even bemusement.

-Magnum Vaeltaja

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ARNAUD BUKWALD discography


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ARNAUD BUKWALD top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 2 ratings
Bizarremporium
2011
3.50 | 2 ratings
Mysterious Vampire
2013
3.00 | 2 ratings
Juke-Box (Vocal covers)
2015
4.31 | 10 ratings
La Marmite Cosmique
2016
3.67 | 6 ratings
La Marmite Cosmique III
2016
3.77 | 7 ratings
La Marmite Cosmique 4
2018
3.46 | 3 ratings
La Marmite Cosmique V
2019
4.33 | 10 ratings
La Marmite Cosmique Six
2020

ARNAUD BUKWALD Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

ARNAUD BUKWALD Videos (DVD, Blu-ray, VHS etc)

ARNAUD BUKWALD Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 1 ratings
Moondragore - ethnic collection
2010
3.75 | 4 ratings
retrospective
2013
5.00 | 1 ratings
the lost archives
2015
4.00 | 1 ratings
Téton Effrayant: An Evil Theme Through the Years
2020

ARNAUD BUKWALD Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.92 | 5 ratings
La Marmite Cosmique Volume 2
2016
0.00 | 0 ratings
You're the Boss
2020

ARNAUD BUKWALD Reviews


Showing last 10 reviews only
 La Marmite Cosmique Six by BUKWALD, ARNAUD  album cover Studio Album, 2020
4.33 | 10 ratings

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La Marmite Cosmique Six
Arnaud Bukwald Eclectic Prog

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

4 stars Brilliantly colourful musical therapy in a progressive manner, let me say. A French multi-instrumentalist / wide-range progressive gift-child Arnaud BUKWALD launched the sixth album of the series "La Marmite Cosmique". Arnaud's terrific artistic virtuoso has been fully exerted in this creation. This album consists of two long tracks (especially the first one "Contes Lunaires" is over twenty minute long) but never redundant ... every single track tells you a kaleidoscopic variation of sound components. Sounds like they have mainly deep, fashionable, stylish atmosphere plus heavy, dynamic impressions here and there ... yes just like a mixture of sensitive, fantastic Bourgogne Rouge and astringent, powerful Bordeaux Rouge.

"Contes Lunaires" is a masterpiece. Magnificent opening and delightful female voices, seasoned with oriental flavour or sutra-ish taste, is another temptation. The following stage is quite lyrical jazz rock, that could remind you of the similar vein to Québécois versatile rock commune L' INFONIE. And comfortable is electronic spices. Symphonic female voices are kinda oasis, and it might be good such an oasis come between flexible jazzy movements. The latter part is quite exciting and thrilling, along with an attractive instruments parade. Intriguing guitar plays and solemn pipe organ chants are pretty of speciality. Wondering this soundscape would have been created by Arnaud himself? Excellent. Contrary to the first masterpiece, the second stage "Dynamogeny'' has quite different texture. Psychedelic organ pieces, slow-tempo shoegaze bluesy guitar explosions are melancholic but promising. Slightly lengthy but dreamy fluent synthesizer-oriented funky line-arts make you tonic. Arnaud's diverse soundscape can be heard through the entire creation.

In conclusion, you can digest his aesthetic music talent out via this album. A fascinating stuff.

 La Marmite Cosmique Volume 2 by BUKWALD, ARNAUD  album cover Singles/EPs/Fan Club/Promo, 2016
3.92 | 5 ratings

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La Marmite Cosmique Volume 2
Arnaud Bukwald Eclectic Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars I thought I'd been following Arnaud's output fairly closely since I discovered his music in 2016, but somehow I missed this one--his obvious tribute to Gong guru Daevid Allen--whose passing surely prompted Arnaud's creation of it. Though the opening song, "children of the full moon," opens as a near-perfect WEATHER REPORT replication, it soon shifts into total and complete GONG You "Isle of Everywhere" territory. Arnaud's solo production is such a near replication, his own instrumental performances so striking for their smooth accuracy and soul-ful conveyance, it can't help but beg the question, Can Arnaud really play all of those instruments with the accuracy, dexterity, and virtuosic fluidity as Steve Hillage, Didier Malherbe, Pierre Moerlin, Tim Blake, and Mike Howlett? It appears so!

The second song on this brief EP is entitled "to Daevid." It is an Eastern Indian-influenced space meditative piece that serves perfectly as the appropriate sendoff for our Magick Brother. It makes me smile with joy at the reaction I imagine Daevid would have to this piece.

As always, brilliant work from this master of many styles and sounds.

 La Marmite Cosmique Six by BUKWALD, ARNAUD  album cover Studio Album, 2020
4.33 | 10 ratings

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La Marmite Cosmique Six
Arnaud Bukwald Eclectic Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars The most creative master of synthesizing old sounds and styles into knew and exciting (and often witty) compositions is back with yet another jaw-dropping adventure into sonic magic-making. I am continuously in awe of Arnaud's uncanny ability to replicate and/or adapt old sounds, styles, and riffs and then meld them into something totally new and fresh. It is truly an amazing gift.

1. "Contes lunaires" (22:14) orchestration and operatic vocals! Am I on the set of Camelot? And then the sly slide into Zeuhl with the pairing of Arnaud's bass voice with Cherry Pob's mezzo! Genius! But then, holy sh*t! At the end of the second minute, the music slips into jazz--a fusion of early Magma Zeuhl and Soft Machine Third Canterbury! Wow! this is an even better fusion than SETNA! At 4:22 comes another sudden shift--into a variation on "Slightly, All the Time"--using piano-based jazz combo with sax and vibes--and then that Canterburian funky saw-organ! At 6:45 Arnaud again turns, this time into pure chordal Zeuhl structure, using echoed flute as his lead to distract us. Acoustic guitar, piano and the wafting, lilting voice of Cherry Pob take over at 7:32. I am in awe! Arnaud, you have truly outdone yourself! This is Annie Haslem Renaissance/Mike & Sally Oldfield territory. At 9:22 those acoustic guitars start to strum as Mellotron, cymbals, and "horns" join Cherry and synth-flutes. "Can You Hear Me?" At 10:52 we shift back into Zeuhlish jazz--a slow pace that shows off the two vocalists (who possess a magical DEAD CAN DANCE Brendan Perry/Lisa Gerrard chemistry). Wow! The tears are streaming down my cheeks! (and this is the third time through the song!) At 13:33 we get a shift into some kind of mystical forest of glass and wind as vibes/marimba flutes and cymbals create this spacious soundscape before being joined by the odd, sometimes discordant strums of a zither. Definitely a dream interlude. At 15:35 we transition rather suddenly back into a more angular, DAVE STEWART-oriented style of Canterbury. While multiple instrument sounds used are straight out of the Canterbury lexicon, Arnaud cleverly brings in a few sounds that are on the fringes--though definitely from within the jazz fusion world. When the church organ begins mounting its ascending attack and the bass, drums, and bank of multiple vocals join in, we are in the realm of the gods--Prog Valhalla! Reverse-engineered guitar solos and then fades while the organ continues its slow, repetitive climb toward heaven. I think we've made it! Pure brilliance--from start to finish! Arnaud's finest hour! (45/45)

2. "Dynamogeny" (11:50) take an early Pink Floyd journey into psychedelia and throw in a little Procul Harum like- organ in the beginning and some upbeat 1940s (or -60s!) Eurojazz-pop, but then give it a metronomic yet-soulful Can-like penetrating Krautrock beat and you've got "Dynamogeny." What a trip! What a creative genius! (23/25)

Total Time 34:04

Those of you who have not give this master chameleon a chance, you are really missing out. There is true, rare genius happening here!

A/five stars; a true masterpiece of eclectic or crossover progressive rock music from the 21st Century's master synthesizer of our favorite sounds from the past. Congratulations, Arnaud! You've truly outdone yourself! A truly astonishing display of composition and realization!

The best album I've heard of 2020 (so far)!

 La Marmite Cosmique by BUKWALD, ARNAUD  album cover Studio Album, 2016
4.31 | 10 ratings

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La Marmite Cosmique
Arnaud Bukwald Eclectic Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars Released in 2016, this was the fourth album from keyboard player Bukwald, and the first to be titled 'La Marmite Cosmique' although there have been three more since then. Although this album is available through Musea, I would much rather have expected this to be a Cuneiform release as there are times when it fits that label absolutely perfectly. Given the French title I did check on Google to see if 'marmite' was something different to horrible black stuff which comes in jars with yellow lids, and was pleasantly surprised to see it means a cooking pot, so we have here 'The Cosmic Pot', and that is a really good title for this jazz-based album which musically is all over the place and consequently a really interesting piece of work.

While there are times when we are heavily into late Seventies lunge jazz there are others where the music is so heavily ELP that one wonders why they never released the material. In 'Fairy Tales' we moved between ELP and Wakeman with ease, and at times we are treated to the sound of birdsong, at others full on early Genesis with swathes of Mellotrons or it could be someone walking through deep snow or just the crackling of a fire. One quickly realises that Bukwald is working with a myriad of ideas and sounds at his disposal and has managed to master all of them. This isn't someone attempting to create music which has come before in the style of yet another copyist, but instead is bringing together elements from lots of bands linking them all together in a true melting pot. This is an album which most definitely takes time to get inside and appreciate the full beauty ' don't just play it once and then wonder what all the fuss is about. This is complex, layered, bringing together influences from the jazz and progressive fields, mixing them with folk and film scores and then moving between orchestral and big bands elements to something that is far more simplistic. Now I have heard this I am certainly intrigued to understand what the others sound like this in this series, certainly something to investigate further.

 La Marmite Cosmique V by BUKWALD, ARNAUD  album cover Studio Album, 2019
3.46 | 3 ratings

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La Marmite Cosmique V
Arnaud Bukwald Eclectic Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars Master synthesist of familiar musical styles Arnaud Bukwald is back with the fifth installment of his fascinating "La marmite cosmique" series of album releases--all of which seem to choose several prog subgenres or specific artists from the past to emulate. What makes Arnaud's work so unusual and enjoyable, though, is that though you recognize the sounds and the styles within each song, the compositions and performances are all so fresh--it's as if he has discovered old tapes or manuscripts from past masters that no one has ever heard and then performed and published them himself.

I think his work genius. Whereas on previous "marmite cosmique" releases he has masterfully replicated the sounds of such stalwarts as Frank Zappa, Greg Lake, Genesis, Camel, Mike Oldfield, Pink Floyd, as well as many, many Canterbury and Krautrock artists (as well as many modern artists), this one presents some Zeuhl, modern West Coast Psychedelia, Berlin School, as well as electronic masters like JEAN-MICHEL JARRE.

1. "Z'hr" (12:27) opens like POPUL VUH before presenting the theatricality of MAGMA and then turning into the engaging melody-delivery medium of BRAINTICKET, this song rocks like CAMEL and it surprises and it sucks you in like KLAUS DOLDINGER's PASSPORT with its grooves, twists and turns, instrumental sounds and skills, not to mention its multiple earworm melodic hooks and ecstatic choral Zeuhlish parts. The best prog epic I've heard so far in this year of 2019. (24/25)

2. "New Dawn" (2:05) West Coast funk on the level of STARVING DAUGHTERS and BRIAN ELLIS. Awesome! Another little gem of Arnaud's that I wish went on and on. (That's why we have repeat and playlist mixes.) (5/5)

3. "Mandarine" (5:46) wonderful Kosmische Musik of the Berlin School ilk. (9/10)

4. "Kinky Boots" (3:58) funky psychedelia that doesn't work as well as "New Dawn." Nice elements but they don't gel as well as I'd like. (7.5/10)

5. "Theremoon" (9:24) opens with some light, playful fairy-like TANGERINE DREAM or JEAN-MICHEL JARRE synth play which is then joined by dobro, percussion and another wooden flute-like synth playing mostly in the lower registers. I can't quite peg the influences/references, but I like it. A lot. Cool space weave. Maybe KITARO or Larry Fast's SYNERGY or Patrick MORAZ's I (or a combination of all of the above) are also appropriate comparisons. Just before the 4:00 mark a truly spacey synth makes a brief appearance before African hand drums enter. While the song never really goes anywhere too exciting or unexpected, it contains great weaves throughout and incorporates genius sound/instrument selections. (18/20)

Total Time 33:40

Five stars; a minor masterpiece of wonderfully creative, nostalgic instrumental progressive rock music.

 La Marmite Cosmique V by BUKWALD, ARNAUD  album cover Studio Album, 2019
3.46 | 3 ratings

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La Marmite Cosmique V
Arnaud Bukwald Eclectic Prog

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

2 stars Arnaud Bukwald is an Eclectic Prog artist that calls himself the underground troubadour and an astronaut. His music consists of a wide array of influences and styles. This multi-instrumentalist has been making albums since 2011. His 7th album, released in August of 2019 is the fifth (four albums and one EP) in a series named "La Marmite Cosmique" (literally translated as The Cosmic Pot). This album is completely performed by Bukwald except for the guest vocalist Cherry Pob who provides vocals for tracks 1 and 4. The album consists of 5 tracks with a total run time of over 33 minutes.

The first track is "Zohr" (12:27) and is the longest track on the album. A sustained synth provides a light drone and the word Zohr is repeated with Bukwald and Pob harmonizing in dissonant manner. Rolling and crashing cymbals build tension, and finally percussion, psych organs and keys, and some brassy instruments work together to play a nice progressive, jazzy music that has a nice psychedelic ring to it. The mostly instrumental track is driven mostly by synths and brass with occasional appearances of guitar. The rhythm switches up throughout the track to keep it from getting too stagnant, even slowing up a bit in the middle section, removing percussion and then reverting to that strange zohr vocals again. Finally at 8 minutes, different words come into play for a short time before it switches back to mysterious instrumentals provided by synth and brass, this time adding in some cool effects. Soon, the keys start a rhythmic pattern, and more repeated singing of the word zohr. The tracks first half was definitely much more interesting as the 2nd half doesn't really ever catch hold, but kind of meanders about.

"New Dawn" (2:05) starts off with birds and natural sound effects before the beat kicks in and a jazzy and slightly cinematic sound kicks in with the synth providing a melodic line. The sound has a 70's funky vibe to it with a Herbie Hancock-style vibe. "Mandarine" (5:46) starts with a repeating synth loop and space effects and noises swirling around it. The music builds aided by crashing cymbals and a gong, the background pattern getting louder as the effects continue. It's not until the 4th minutes that anything with a semblance of a melody comes in, and the music loses the repeated pattern and becomes more pensive and soft, fading to almost nothing when the repeated synth pattern returns quietly in the background as it ends with a minimilistic sound. "Kinky Boots" (3:58) goes for the funky vibe again, Buckwald reaches for his inner Herbie Hancock again. Cherry Pob sings mostly wordless vocals as she improvises along with the melodic lines established by the synths. At 3 minutes, the music cuts out leaving only a percussive noise sounding like someone walking, then suddenly a full band sound comes in sounding like a piece of another fully developed song, but quickly ends.

"Theremoon" (9:24) begins with a nice atmospheric ascending and descending synth while other keys play softly around it. This space jive continues for a while, it's nice, but it doesn't really develop into much as a melody soars and abates randomly around the repeating synth background. Finally, at 4 minutes, percussion comes in with a layer of sustained chords that help to ground this flighty track. As it continues, it all seems more like underdeveloped improvisation on the synths to only fill up time. It just goes on forever without much change.

Not much really happens on this album as it seems more like one long track that has a strong first half and then meanders around on the 2nd half, 3 tracks of mostly patched together material and another long track of improvised space music without any real foundation or direction. Sure, there is some interesting melding of styles, especially in the first and 2nd tracks that bring psych, jazz and electronica together in a nice way, but unfortunately, those tracks just don't justify the laziness of the rest of the short album. The first part of the album lives up to it's eclectic and eccentric nature, but the remainder just feels like music without a real direction or haphazardly pasted together.

 La Marmite Cosmique 4 by BUKWALD, ARNAUD  album cover Studio Album, 2018
3.77 | 7 ratings

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La Marmite Cosmique 4
Arnaud Bukwald Eclectic Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Frenchman Arnaud Bukwald is back with this year's (first) installment of La marmite cosmique and, as usual, it's a rollercoaster ride through nostalgic prog styles. With only two songs over three minutes long, it serves as a bit of a challenge to get a grip on what the master of imitation is trying to accomplish, but the one 14-minute epic makes it all worthwhile--and is sure to end up on my year-end list of favorite prog epics.

1. "brats" (2:11) stage piano and female voice make this one sound like a setup for a vaudeville song, but Arnaud's Frank Zappa-like voice and the quirky anti-pop song that develops says otherwise. A lyric Frank would be proud of. (4.5/5)

2. "gravelax de spleen" (14:16) another one of Arnaud's masterpieces that crossover several subgenres of prog rock. With the atmospheric, spacey opening section (0:00-2:30) I thought I was in for some Kosmische Musik, but the it goes full Jazz Fusion (both Canterburian and a little avant garde) (2:30-5:06) before seguing into a gorgeous, slow, emotional, SOFT MACHINE section (5:07- 7:11) (with some lovely flute playing) before returning to the faster, upbeat Canterbury music of Section II (8:01- 9:50), cycling back to the slow, emotional themes and styles of Section III (9:52- 11:57) (I love the Hammond, brush play on the drum kit, and the upright bass!) and then ending in a kind of Stefano Musso/ALIO DIE tuned percussion display for the final section (12:00-14:16). Awesome and beautiful song! One of my favorites of the year (so far)! (10/10)

3. "bromridrosis" (2:28) stylistically and lyrically this sounds like a FRANK ZAPPA song though there are elements that remind me of MAJOR PARKINSON, too. The vocal contributions of female singer Geneviève Palley are quite welcome. Definitely the funky side of Frank Z.... (4.5/5)

4. "polymorphous roach" (2:44) a "horn"-supported jazz set up for ancient keyboard exposition (Hammond, Fender Rhodes, and synths). (4.5/5)

5. "mont de venus" (1:53) opening with a bit of a circus/carnival music sound, the title suggests Anaïs Nin while the music weaves more into a PHILLIP GLASS spiral--though the odd second fade out of xylophone soloing catches one off guard. (4/5)

6. "rumpology" (6:42) The study of rumps. Cute. Though this song opens up much like the B horror movie "soundtrack" music of bands like ATOMC APE, the music turns, in the second minute, into an experimental Berlin School type that I never really particularly enjoyed (Todd Rundgren played in this way a lot, as well): fragments of noise and sound experiments strung together in a seemingly random way. Perhaps this music represents more the study of toilet flushing. (7.5/10)

4.5 stars; a wonderful collection of very well produced songs that any prog lover would love to hear for its great sound, compositional genius, and nostalgic effect. Still, 30 minutes of music is a bit short to be considered for album of the year.

P.S. Nice album cover!

 La Marmite Cosmique by BUKWALD, ARNAUD  album cover Studio Album, 2016
4.31 | 10 ratings

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La Marmite Cosmique
Arnaud Bukwald Eclectic Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars A brilliant and totally fresh smorgasborg of avant jazz/jazz fusion song stylings from French composer/musician Arnaud Bukwald. The journey that Arnaud takes one on through the songs on this album is quite nostalgiac as there are familiar sounds, riffs, and stylings in virtually every song. And yet, the music is totally fresh, new, and unpredictable. The compositions and arrangements work very well throughout.

1. 'Chop suey' (2:15) opens the album on a wild and crazy percussive journey with xylophone and drums leading flutes and synths along like lemmings over the cliff. Then a jazzy JERRY LEE LEWIS-like piano section ushers in vocals, horns, psychedelic electric guitar lead and drums for about 30 seconds before a toilet flush signals the end and exit. (3.5/5)

2. 'Dedicated to Hugh' (3:10) (Hopper? or the same 'Hugh' of Robert WYATT's 1972 dedication on his first MATCHING MOLE album?) 'a m'est 'gal, for in the end this is a truly wonderful instrumental tribute to all Canterbury artists of the late 60s and 1970s'so perfectly composed and performed. (10/10)

3. 'Mars caravan' (3:06) opens with a voice sample from a 1950s-60s film about alien/(Martian) before turning into a kind of film score soundtrack to a credits roll or film montage of alien visuals. Very dramatic, even melodramatic, ' la ENNIO MORRICONE or someone else of that ilk. (8.5/10)

4. 'Gran Torino' (3:39) ventures into the funk jazz fusion found in a lot of late 60s early seventies film and television themes (especially Black exploitation and disco-era cinema.) Very catchy, dance-groovy. (9/10)

5. 'Time and space' (2:11) opens with heavily spaced flute and then Fender Rhodes piano play before a vocal (!) from a very deep GREG LAKE-like voice. The second minute turns into quite the upbeat 70s television theme song. Very fun song! (5/5)

6. 'Fairy Tales' (10:23) opens with its first two minutes feeling very much like a section out of ELP's 'Tarkus.' The next section shifts gears and moods into feeling like GENESIS's 'Watcher in the Sky mixed with Mike Oldfield's tubular bells. Then, at the end of the fourth minute we get to hear the sounds of birds, woodsy-lumberjack sounds, and then crackling sticks over the fire next to the babbling brook. This is then replaced by the gradual fade in at the 4:50 mark of strummed mandolin, harp, and woodwinds, before a more rollicking orchestrated section bursts in at 5:48: double bass, orchestral strings, tympani and orchestral percussion'which are soon joined by a jazzy horn section but the, just as quickly, all is dropped in favor of an extended section of some strum-play on the strings inside a piano. Slowly a mysterious organ enters in the background before tribal drum play and piano percussives play over the top. The final 45 seconds of the song engage a Moog synth solo played with tubular bells and church organ. Not all of Arno's influences/references are clear to me. He's told me that Cyrille Verdeaux, Art Zoyd, Gong, and Ange are among his all-time favorites'all of whom are not as familiar to me as they could be'thus I suspect that some of the references I miss are from nods to those bands. (18/20)

7. 'Cirrus sequence' (9:26) opens with a combination of STEVE HOWE acoustic guitar harmonics play with David Gilmour 'Wish You Were Here' blues guitar lead and synth play common to TANGERINE DREAM work taking turns and then woven together. Clever and awesome! After the 3:40 mark, the Wish You Were Here' section ends and an eerie, spacey 'screaming alien howler monkey' section plays out over the same crackling fire noises from the previous song to the end of the song. Again, I am disappointed to say that this reference is lost upon me. But it is unique and interesting. (16/20)

8. 'T'ton effrayant - sauerkraut' (16:57) is a tribute to the Kosmische Musik (aka 'Krautrock') happening in the musk schools and hippie ashrams in Germany in the late 60s and early 70s. Bands like CAN, ASH RA TEMPEL, NEU!, AMON D''L, and even FAUST can be heard in this one. The shifts in the play of the rhythm section in this one are particularly noteworthy and fascinating. You can tell Arnaud gave great attention and love to the details of this one. Synths, percussions, saxes, and effects all play such critical roles in the weave of this one. It is hypnotic as well as trippy (like a circus-like acid trip). The Kraut rock fathers would be proud! At 8:10 there is a break leading into another GENESIS-like organ-synth and martial drum-led 'Watcher of the Skies' section before the previous Kosmische rhtythm reestablishes itself to support various independent appearances from Keith Emerson synth, Mellotron, Another break at 10:30 yields a very airy-empty space wash out of which a 'rocket takeoff' rising synth not appears and leads us into a very spacey, Berlin School of Electronic Music section. Could be straight out of any of TANGERINE DREAM, Manuel G'TTSCHING or the KLAUS-meister's 1970s masterpieces. Brilliant! Masterful end with avery slowly decaying synth sequence. My favorite song on this wonderful album! (33.5/35)

A minor masterpiece of true progressive rock music. Check this guy's music out! You won't be sorry!

Thanks to epignosis for the artist addition.

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