SLOCHE

1. "C'pas fin du monde" (8:52) starts very spacey with lots of synths playing around, as if trying to find a groove to attach themselves to. When the groove does arrive it sounds quite a bit like some Canterbury Santana--or maybe KHAN. LIttle keyboard interlude at the 4:54 mark brings us back to the searching chaos of the intro. The organ eventually directs everything into a kind of "Big Bang/Creation" crescendo. By 6:20 we're groovin' again-- almost Motown-ish (the rhythm guitars--remind me of THE ISLEY BROTHERS, AVERAGE WHITE BAND, or WAR). Then the clavinet comes in! It's BILLY PRESTON! Fun song if a little dated. (8/10)

2. "Le kareme d'Eros" (10:50) begins like a piano bar player warming up his fingers before getting into a CHICK COREA-like rhythm and style at the 1:10 mark. The melody established by the (Still) solo piano at 1:45 sounds a bit cinematic--as if to confirm that we are in the piano bar (with Billy Joel). At 3:15 the pianist starts to show off his classical licks à la KEITH EMERSON. At 3:45 a MAGMA-like choir najes quite an impressive (and welcomed) entrance. Let the wild rumpus begin! The ensuing duelling electric guitar and keyboard sound very much like LARRY CORYELL'S performance on LENNY WHITE's forgotten classic Venusian Summer. Cool little bit. by 8:55 we've left that and gone into a more RETURN TO FOREVER-like passage. INteresting song that I'm not sure really works--even if it is supposed to portray little Cupid's random exploits. (8/10)

3. "Algebrique" (6:30) is a bit more cohesive and yet GENTLE GIANT- and YES-like in its structural shifts and staccato rhythms. An interesting ZAPPA-like part begins at the 2:10 mark, with synth and voices grabbing the listener's attention. At 3:28 begins a sudden foray into territory covered by TODD RUNDGREN'S UTOPIA's in "The Ikon." Luckily, they don't stay there long--though the drummer more and more sounds to me like a drummer from Todd's mid-70s posse. The heavier, more KING CRIMSON-esque final minute is my favorite part of this, my second favorite song from this album. (9/10)

4. "J'un oeil" (4:43) relies on the repetition of a very familiar poppy riff until the wonderful clavinet-backed choral-vocal section begins. AT 2:10 we go back to the introductory repetitive riff for a bit, until it slows down with a spacey organ and high-register electric guitar melody take over. Switch back to the choral-vocal section for the last minute. This one is my favorite. (9/10)

5. "Potage aux herbes douteuses" (7:07) begins again very much like the AVERAGE WHITE BAND, shifts to a little GINO VANELLI coda, then back to the A part, coda B before shifting into second gear with a fun off-tempo section. This seems to be very much an exercise in band odd tempos, though the insidious climb up the scale is enjoyable and interesting. At 3:30 the choral enters for a different coda before the THIJS VAN LEER-like organ play takes us to an extremely FOCUS/CAMEL-like section--which then combines with the choral beautifully. Wonderful! Interesting ANT PHILLIPS-like end! (9/10).

This is a fairly recent discovery of mine, thus, as I go to rate it, I take into consideration both the impact it has on me today (a bit dated and immature) as well as my imagined impact the album would have had on me in the 70s or 80s (probably like Camel's Moonmadness.) I think it is a good album that has indications of a band that could (have) evolve into a great band. Like CAMEL or FRUUPP. 3.5 stars.

Another great discovery!

Yep, I'm on a roll my friends. It started with Et Cetera, then Maneige and finally Sloche, which is french for the brown and grey snow in the streets. It's funny they've picked up that name. Since the view of slush in the streets is enough to give you depression, the music of Sloche is many times sunny, warm and depicts a super summer day (well for me).

Quebec's love for Gentle Giant is well knowed and Sloche is aiming quite often in that direction. The days of Three Friends probably strucked them more deeply, because I keep hearing bits and pieces of the record. Good thing if it's done with taste, and this is the case here.

The large palette of keyboards is nothing to draw me away, maybe they're the Quebec band with the most keyboard dominated sound (think Novalis, GG and Harmonium). Fun lyrics too, a bit silly when they talk about the god of love Eros in his bed, thinking about orgy. Original to say the least!

Hard to dislike such well crafted melodies, and complex at that. Just like when I discover gems from another country, do yourself a favor and dig deeper into Quebec's progressive scene. The progger with an open mind and a taste for complexity will happy-dance by it's replay value.

Another winner.

Sloche's second album is much like its first; once again, the emphasis is mainly on instrumental passages (in fact, there's no vocals at all this time around), the symphonic influences from the debut sound scaled back to me, and the style is once again fusion- oriented. I'm not as thrilled by it as it seems many others are, but I guess everyone has a few bands that they ought to like given their personal tastes but, for whatever reason, just don't "click" with them - Sloche are evidently one of mine. Once again, I won't go below three stars because I can see how others might quite like this album; if you follow the output of the Quebec scene of the late 1970s, you'll probably find it a great pick.

A mostly-instrumental fusion album with a few symphonic influences, Sloche's debut album is a good companion piece to fellow Quebec natives Maneige's albums from around this time. Though I personally don't find myself moved by this particular mingling of progressive rock and jazz fusion sounds to the extent I am by Maneige's work, those who are particularly enamoured of the Quebec scene of the time will not be disappointed by this album, being as it is a highly competent piece performed by one of the less famed bands from that particular hive of prog activity. Three stars, but tack another one or two on if the Quebec scene is particularly special to you.

Hardly known outside of PA where it sits in the top fusion album list, this Canadian fusion album is quite a gem and a great example of mid-70s fusion.

It's harly longer then 38 minutes but you won't find one moment that lacks drive and inspiration. The occasional French vocal adds some extra variation but most of the album is instrumental, with compositions are rhythmically as well as melodically very strong, making this album an ideal treat for fusion and symphonic prog fans alike.

Seemingly without effort the band merges influences from technical progressive rock such as Yes, ELP and Gentle Giant with the then contemporary funk-fusion of Weather Report and Return to Forever. There are even with some avant-garde elements, but they remain subtle and non-obtrusive. All of this comes with a very spontanuously rocking attitude, bright spirits and a sound as colourful as the album art.

Not a masterpiece of fusion but worth hunting down for lovers of progressive rock and fusion alike.

Excellent debut album from relatively less known Canadian band. Music is very well balanced, even if based on keyboards mostly. Every musician has space for his instrument, but result sounds as real team product, not just a recording of talented soloists.

Musically the band is the quintessence of jazz fusion from its time: progressive rock element is added everywhere, but at the level you will always feel jazz fusion roots. Quite melodic, with some vocals, music is bright and quite optimistic, without too long compositions. It looks the musicians just took all the best from prog jazz fusion of their time. Musicianship level is excellent, especially as for debut album.

Excellent evidence of jazz fusion golden age ( and dated well happily). Very recommended. Not less than 4+!

Second (and last) album of excellent Canadian fusion band. Absolutely unknown band in Europe. This album, besides of Canada, was re-released in Japan only.

Every jazz-rock fusion fan will find on this album all the best this genre invented in mid 70-s. Mostly keyboards driven, music is filled with excellent guitar sound as well. Drumming is jazzy and accented in sound mixing, but it doing a sound even more modern. Hammond sound is on the level of the best prog rock bands of that time, but sound in total are more jazz rock than prog rock.

Compositions all are melodic and played with perfection, common atmosphere is fresh and optimistic (without cheese traces at all). Few songs have pleasant French vocals.

I found this band relatively late, and till now I wonder how so great band stayed so best kept secret for millions of fusion fans almost till now. Differently from some leading bands of its time, music there is well balanced, without soloing and back-up instruments, and for me it is more plus than minus.

One of the best jazz-rock albums from mid 70-s! Absolutely must have for any serious fusion fan.

Really 4,5, rounded to 5.

Not as good as their amazing debut in my opinion. I think the biggest disappointment for me is the lack of vocals that really added a special flavour to the debut. All things said though the playing here is flawless.

"Stadacone" opens with a light and bouncey rhythm before it changes a minute in when the guitar arrives. An excellent soundscape 3 minutes in as bass, keys and drums lead the way. Synths come and go. Some rare vocals after 7 minutes with organ then it kicks back in. The song continues to change and I like the organ 9 minutes in. "Le Cosmophile" opens with synths and organ as heavy drums come and go. A change after 1 1/2 minutes as the tempo picks up. It gets a little funky here. Some excellent vocals after 3 minutes. Sax before 4 minutes and organ follows. "Il Fault Sauver Barbara" opens with a catchy rhythm before synths come in. It's back again (the rhythm) until it settles before 2 1/2 minutes then some powerful organ kicks in briefly. Settles again then kicks back in. Well you get the picture. I do like the atmosphere when it settles each time.

"Ad Hoc" is different with the guitar sounding processed at first then becoming normal and leading the way before a minute. Nice bass lines here with atmospheric synths, but it's the guitar that is the focus. "La Balqune De Varenkurtel Au Zythogala" is a pleasant sounding song with synths, keys, drums and bass standing out. "Isacaaron (Ou Le Demon Des Choses Sexuelles)" begins with drums before keys, sax and organ come in. A calm before 1 1/2 minutes then it starts to build. Piano and drums 3 1/2 minutes in lead the way. The sound changes 7 minutes in and i like it. Then we get lots of changes the rest of the way.

The debut was more fun, humerous and free although we get glimpses of these here as well. Great album !

4.5 stars. SLOCHE's debut is another album from Quebec like OPUS 5's that must be heard to be believed. A 5 piece band with 2 keyboardists, although one of them plays sax at times.The vocals are fantastic as well and are in French.

"C'Pas Fin Du Monde" opens with spacey synths for the first 1 1/2 minutes then this intricate sounding melody takes over with keys, bass, light drums and more. A collage of sounds really. Vocals join in a minute later. Nice. This sounds amazing ! A calm 5 1/2 minutes in then some bombastic drums and organ kick in before it settles into a jazzy groove. Nice guitar after 7 1/2 minutes. "Le Kareme D'Eros" is the longest track at almost 11 minutes.We get piano melodies to open for over 3 1/2 minutes before vocals and a heavy and full sound takes over. They're having fun ! Great guitar after 5 minutes as it trades solos with the organ. Incredible section ! It settles with synths and piano before 7 minutes then the vocals come back. It turns spacey followed by a heavier sound after 9 minutes. Check it out ! Great section.

"J'un Oeil" builds to an incredible sound a minute in. Vocals join in too. Beautiful sound.There is a GENTLE GIANT vibe and then it settles before 3 minutes, we're back to the main melody with vocals a minute later. "Algebrique" opens with acoustic guitar as synths join in. Drums come in as the tempo picks up. Vocals 2 minutes in. An outburt of guitar and sound comes and goes 3 1/2 minutes in. Sax in this one too. Love the drum patterns here. Great track. "Potage Aux Herbes Douteuses" opens with a catchy beat, kind of funky actually. Cool sound especially the drumming after 2 1/2 minutes. Vocals a minute later followed by some outstanding floating organ sounds. Guitar and drums after 5 1/2 minutes take over. Vocals are back. It calms right with acoustic guitar to end it.

This will appeal to more then just Jazz fans out there, a hidden gem if there ever was one.

Second and last release by Québécois quintet Sloceh, Stadaconé signlalled the culmination of a great jazz-related progressive rock career that ended too soon (like so many other cases... fellow Québécois act Et Cetera even released only one album). Stadaconé in many ways follows in the vein of the debut effort J'un Oeil, only this time Sloche chooses to prioritize its jazzy side more noticeably. Influences from return to Forever and Weather Report leave their patent marks in the way that the fivesome channel their compositions through their exquisite performative dynamics and agile arrangements. The melodic ideas are not usually tha tcomplex, but the band's inherent drive to bring colorfulness and muscle to their performances allow the guys to take full advantage of the material's potential. The sonic amalgam tends to be stronger in comparison, but by no means Sloche stops inserting delicious passages on the softer side of things. The rhythm duo reminds me a lot of the Shulman-Weathers scheme that had meant so much for the enhancement of the best GG songs. The long opening instrumental (it lasts 10 minutes) bears a clear hint at the line of work preferentially pursued in the entire album: developments of well-ordained jams, candid melodic bases, evident yet constrained complexity in the various guitar and keyboard solos. One weird moment is the brief passage of orga nand chorale that emulates a Gregorian chant: there is an edge of refined satyre in there, but it is pretty much controlled... don't expect a Zappa extravaganza. The next three tracks continuously reinstate the jazz-oriented drive, which by now has to be quite familiar to the listener. There are especially accentuated funky puntuations in the rhythmic sturcture of 'Ad Hoc'. Track no. 5, entitled 'La 'Baloune' de Varenkurtel au Zythogala', travels trhough serene trends, even solemn. The melodic framework is sweet and evocative, providing a powerful connection with the eerie side of the Canterbury tradition (Gilgamesh, mostly), as well as Happy the Man. The closing track has to be described as a tremendous 11 minute prog apotheosis. It is indeed the most pompous piece in the album, and I am tempted to state that it is Sloche's most accomplished compositional effort. The use of Gentle Giant-ish counterpoints and some Bardens-meets-Watkins powerful keyboard orchestrations assure the presence of a tight lyricism all through the jams. In some passages, I can also notice some relatedness with the peculiar majesty that Yes delivered in their Relayer days. All in all, despite the symphonic tendencies alluded in these specific words, Sloche basically remains loyal to the album's integral prog-jazz direction. In conclusion, Stadaconé is an album full of colors and warmth, created with inventiveness and performed with total finesse, enjoyable all the way. Sloche is a mandatory name in any good prog collection.