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RICHARD PINHAS

Progressive Electronic • France


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Richard Pinhas biography
(aka: Richard Dunn) - Born 1951-05-07

Electronic music pioneer and leader member of the legendary HELDON, Richard Pinhas also has a prolific career in solo. In 1977 e he released his first essay called "Rhizosphère" (whose name is inspired by G. Deleuze philosophy). The content is largely made of cerebral-obsessional electronic loops. Guitars are more discreet and the music is progressively getting more and more into a lysergic post-modern space odissey. The magnetic and seductive "Chronolyse" (1978) is a little classic and a good example of Richard Pinhas' hability to explore the complex droning quality of electronic sound textures. The hypnotic and entrancing "Events and Repetitions" (2002) can be considered as the French answer to Eno/Fripp collaboration in the minimalist ambient spectrum. The last opus "Metatron" (2006) perfectly combines Richard Pinhas guitar style (in the vein of Robert Fripp's weird manipulations) to sonic cyclical electronics. Outside of his solo career richard pinhas also founded the project «schizotrope» and released several CDs in collaboration with numerous artists such as Peter Frohmader (Fossil Culture, 1999), Pascal Comelade (Obliques Sessions II, 1999). Highly recommended for those who like sci-fi psych jamming, Heldon's propulsive neurotic-electronics and Eno/ Fripp duet.

See also: SPACECRAFT - FLAMEN DIALIS - LARD FREE - ZED - Flip Side (of Sophism) (With Richard Pinhas)

:::Interview::: (09/09)

P.B: afterward, what was the release mechanism, the beginning of the musical odyssey Heldon?
R.P: at the beginning there was a group of blues, " blues convention " which I had formed with the one who became the first singer of magma Klaus Basquiz. After one year or two we stopped because we did not get any more, not with Klaus who remained a good friend but with the two others. At the same time to my studies at the faculty I thought of making some music more "seriously". I formed a group which was called schizo, a kind of introduction to Heldon. A first disk was published...
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ChronolyseChronolyse
CUNEIFORM RECORDS 2017
$14.50
$14.49 (used)
L'ethiqueL'ethique
CUNEIFORM RECORDS 2017
$15.27
$15.26 (used)
The Life And Death Of Marie ZornThe Life And Death Of Marie Zorn
CUNEIFORM RECORDS 2017
$20.22
$11.98 (used)
Process And RealityProcess And Reality
CUNEIFORM RECORDS 2017
$13.58
$13.66 (used)
ReverseReverse
Bureau B 2017
$12.17
$14.51 (used)
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RICHARD PINHAS discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

RICHARD PINHAS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.08 | 24 ratings
Rhizosphère
1977
3.64 | 33 ratings
Chronolyse
1978
3.99 | 37 ratings
Iceland
1980
3.11 | 15 ratings
East West
1980
3.89 | 24 ratings
L'Ethique
1982
3.75 | 7 ratings
DWW
1992
3.00 | 4 ratings
Richard Pinhas & John Livengood: ‎Cyborg Sally
1994
2.15 | 4 ratings
De L'Un Et Du Multiple
1996
0.00 | 0 ratings
Schizotrope: Le Plan
1999
2.80 | 5 ratings
Events And Repetitions
2002
2.98 | 5 ratings
Tranzition
2004
3.46 | 16 ratings
Metatron
2006
4.00 | 1 ratings
Richard Pinhas & Merzbow: Keio Line
2008
0.00 | 0 ratings
Metal / Crystal
2010
3.00 | 2 ratings
Desolation Row
2013
2.95 | 2 ratings
Richard Pinhas & Tatsuya Yoshida: Welcome In The Void
2014
2.50 | 3 ratings
Richard Pinhas & Oren Ambarchi: Tikkun
2014
3.00 | 1 ratings
Richard Pinhas, Tatsuya Yoshida & Masami Akita: Process And Reality
2016
4.00 | 1 ratings
Reverse
2017

RICHARD PINHAS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 1 ratings
Rhizosphère / Live Paris 1982
1982
0.00 | 0 ratings
Schizotrope: The Life And Death Of Marie Zorn * North American Tour 1999
2000
4.00 | 3 ratings
Richard Pinhas & Merzbow: Rhizome
2011
0.00 | 0 ratings
Live In Japan / Richard Pinhas & Tatsuya Yoshida
2015
0.00 | 0 ratings
Live at Tusk Festival / Richard Pinhas, Tatsuya Yoshida, Ryoko Ono
2016
0.00 | 0 ratings
Hakata Shibuya - Live In Japan 2014 / Richard Pinhas & Tatsuya Yoshida
2016

RICHARD PINHAS Videos (DVD, Blu-ray, VHS etc)

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

4.50 | 2 ratings
Single Collection 1972-1980
2006

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

0.00 | 0 ratings
West Side / Houston 69
1980
0.00 | 0 ratings
Beautiful May
1980
4.00 | 2 ratings
Cyborg Sally
1994

RICHARD PINHAS Reviews


Showing last 10 reviews only
 Richard Pinhas, Tatsuya Yoshida & Masami Akita: Process And Reality by PINHAS, RICHARD album cover Studio Album, 2016
3.00 | 1 ratings

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Richard Pinhas, Tatsuya Yoshida & Masami Akita: Process And Reality
Richard Pinhas Progressive Electronic

Review by kev rowland
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars Forty years on from his debut, Richard Pinhas is still producing challenging music, and on this 2016 album combined with two icons of the Japanese avant-garde ' drummer Tatsuya Yoshida, mastermind of warped-prog legends Ruins, and Masami Akita, a.k.a. noise guru Merzbow. Although they have performed and toured together, this is the first time the trio had made it into a studio and actually recorded. What we have here are four 'songs', with Pinhas providing guitar and synth guitar, Merzbow electronic noise, and Yoshida bashing the hell out of a drum kit. It is really hard to understand who is leading who, as in many ways it is Yoshida who is at the forefront of what is going on, while the other two are fighting instruments to produce something that is avant garde, challenging and quite unsettling.

This is bleak, disconcerting music depicting a post nuclear age, where life is cheap and short. It is compelling, disturbing, disconcerting and polarising. This isn't music for everyone, and there will be many who feel this isn't even meeting the definition of the term, but I found it interesting and engaging even if I don't want to play it all the time.

 Chronolyse by PINHAS, RICHARD album cover Studio Album, 1978
3.64 | 33 ratings

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Chronolyse
Richard Pinhas Progressive Electronic

Review by kev rowland
Special Collaborator Honorary Collaborator

3 stars In 2015, to tie in with the 50th anniversary of Frank Herbert's classic 'Dune', Cuneiform Records undertook the first-ever vinyl reissue of Richard Pinhas's second album, 'Chronolyse'. Back in 1974, Pinhas received his PhD in Philosophy from the Sorbonne, where he had studied with French philosopher Gilles Deleuze and written his dissertation, 'Science-Fiction, Inconscient et Autres Machins', on the intersections of time, time manipulation, science fiction and analogue electronic music. That same year he founded Heldon, a band that fused his searing guitar with experimental electronics to revolutionize rock music in France. Pinhas had been deeply affected by Frank Herbert's Dune novels and the complete universe that they contained, and wanted to dedicate a full solo album to Dune. Acquiring a Moog P3 and a new Polymoog to accompany two Revox A700s he had installed in his home Heldon Studio, he spent January to June 1976, recording direct to tape. Originally, he had thought to do an all-Moog album, but instead, he went into the Davout Studio with his guitar and his Heldon colleagues, Didier Batard (drums) and Fran'ois Auger (bass) to record their instruments over the Polymoog track.

The result is something that sounds as if it has come straight from Germany as opposed to France, as this is incredibly reminiscent of Tangerine Dream and early Kraftwerk. There are repeated rhythms and melodies, and with just minor tweaks one can imagine this being a hit in dance clubs through Europe. These repetitions are quite hypnotic, and are used as a base for other melodies to be placed over the top as the music drills into the psyche of the listener. I find it strange that I am coming to this album so late after the original release, as any of this style of keyboard music should be searching this out.

 Rhizosphère by PINHAS, RICHARD album cover Studio Album, 1977
3.08 | 24 ratings

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Rhizosphère
Richard Pinhas Progressive Electronic

Review by WFV

3 stars As the first Richard Pinhas solo work, Rhizosphere works as a natural bridge between the music Pinhas created with Heldon and the music he would make in the future. A transition album.

We're still treated to treated electronics, but without a guitar, the aggression is scaled back on Rhizosphere. The first side flows nicely with shorter pieces, for me the highlight is the languid Trapeze/Interference.

Side B is a sidelong electrosuite that is quite repetitive and not all that engaging.

Somewhat mediocre but mildly pleasing for electrofans. The CD release includes a seperate unreleased Live album from 1982, which bumps the mediocrity level to respectably competent.

 Iceland by PINHAS, RICHARD album cover Studio Album, 1980
3.99 | 37 ratings

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Iceland
Richard Pinhas Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars "Cold" is an adjective which could often be ascribed to Richard Pinhas' music, whether you're talking about his solo electronic works or his band work with the likes of Heldon. A master of creating alienating, chilling atmospheres already, on Iceland he really takes that to the next level, producing a frosty masterpiece which will convince listeners that the dread fimbulwinter that precedes Ragnarok is upon them. CD rereleases tack on the 25 minute bonus track "Wintermusic", a rather dispensable Fripp & Eno-esque drone piece which fails to capture the raw intensity of the original album and can safely be skipped; it's the core Arctic blast of the original tracks which really stands out.
 Richard Pinhas & Tatsuya  Yoshida: Welcome In The Void by PINHAS, RICHARD album cover Studio Album, 2014
2.95 | 2 ratings

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Richard Pinhas & Tatsuya Yoshida: Welcome In The Void
Richard Pinhas Progressive Electronic

Review by admireArt
Prog Reviewer

3 stars Thunder and lightning! But then again....

My first encounter with Tatsuya Yoshida, who co-composes, "Welcome... ... In The Void", 2014, alongside Richard Pinhas, is through this same record.

Drummer Yoshida finally was the one to subdue a bit, Pinhas' frantic obsession with Robert Fripp's self-named "Frippertronics". I mean, he uses them more than Fripp himself, who now constructs a more refined kind, named "Soundscapes".

But no matter how much I appreciate and still want to appreciate Richard Pinhas own guitar language, it is always surrounded by this "cloudy aura" of sounding like a Robert Fripp's involuntary (?) clone.

Well, as told, Yoshida's thunderous and creative drumming kind of balances and keeps Richard, most of the time, busy doing what he does best, the daring and whirling guitar soloings mixed with an ever changing palette of strumming colors, like his great Heldon or his best early solo efforts. But although owning his own style, he falls off the wagon more than once. Damn!

Welcome.....in the Void, consist of 2, 30 min long each, non-stop, progressive psychedelic electronics. There are extraordinary sections, of tumultuous and deep, dynamic inspiration, when both musicians form a perfectly balanced communion of excesses, going both ways of their performing skills.

But inevitably, I can not keep my mind off, the constant and alien apparition of Pinhas' "Frippertronics".

Therefore, ***3, "Good! One way trip" PA stars.

 Chronolyse by PINHAS, RICHARD album cover Studio Album, 1978
3.64 | 33 ratings

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Chronolyse
Richard Pinhas Progressive Electronic

Review by Modrigue
Prog Reviewer

3 stars Initially recorded in 1976 before "Rhizosphère", "Chronolyse" is in fact Richard Pinhas's solo debut. Not as varied and inspired as HELDON's music, the first half of the record is dominated by synthesizers, whereas the second half displays an atmosphere similar to the french electronic band's, however lighter. As you may have noticed, the tracks name are a tribute to Frank Herbert's Dune.

"Variations Sur Le Theme de Bene Gesserit" consist mainly in the same minimalist loops played at different tempos with the Moog and passed through two Revox echo generators. There are seven variations listed, but I personally really count only five of them. The very fast 1st and 4th variations create a pulsating hypnotic effect. On the contrary, the 2nd and 6th variations "Variation II" are much slower. The theme resemble a little the one used for the "Bolero" suite on HELDON's album "Stand By", one year later. The 3rd variation is mid-tempo, while the 5th one is the most original by mixing slow and fast sequences. The 7th variation is the longest and maybe the most interesting, as it features additional sound effects. "Duncan Idaho" consists also in a slow electronic loop that may have been used as a draft for HELDON's "Bolero" suite too. A little repetitive, but enjoyable.

The 30 minutes epic "Paul Atreides" sounds more like typical HELDON. The reason is that band members Didier Batard, at bass, and François Auger, at drums, participate at this track. Pinhas also adds guitar and mellotron to weave landscapes devastated by war, like on planet Dune. Although a bit long and dissonant, this futuristic drone composition is more varied, disturbed and immersive than the other ones. Nice. Where did I leave my spaceship?

Despite lengthy passages, "Chronolyse" is overall pleasant and more convincing than Richard Pinhas' first official solo release, "Rhizosphère". If you enjoy HELDON or repetitive electronic music, then this album is quite recommended.

 Rhizosphère by PINHAS, RICHARD album cover Studio Album, 1977
3.08 | 24 ratings

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Rhizosphère
Richard Pinhas Progressive Electronic

Review by Dobermensch
Prog Reviewer

3 stars 'Rhizosphere' is machine music that sounds like it was recorded by one of those Drones on 'Tatooine' from 'Star Wars' in 1977.

Unlike his concurrent 'Heldon' band - there are no guitars used at all. This is purely electronic with a complete absence of vocals. 'Rhizosphere' displays all the technology and gadget twisting of 'Jean Michel Jarre' from the previous year with his groundbreaking 'Oxygene'. Thankfully it's mostly a lot darker in execution.

'A Piece for Duncan' verges on New Age Ambience in the style of Steve Hillages 'Rainbow Dome Musick'. Squeaks and bloops playfully doodle around the surface as a simple pretty echoing keyboard patters out a relaxing little tune.

Quite frankly, this whole album is far more listenable and pleasing than 'Heldon' to my weak and feeble ears that have been damaged beyond belief during the past 25 years of listening to 'difficult' music. As you can see it also displays a bizarre and wonderful front sleeve. It's meaningless, of course, but represents a surrealistic approach to the recording.

Swirling keyboards make up 'Claire P.' with a hypnotic and kaleidoscopic feel throughout. This is quickly followed by 'Trapeze Interference'. Being much darker and quite sinister, it's actually similar to early 80's Industrialists 'Konstruktivists' with its wind-tunnel, doom laden chords.

The 18 minute 'Rhizosphere' is a large slab of electronica played with a huge amount of heavily treated percussion, where every sound is squashed through electronic effects. Mostly 'flanger'. It is however, just a greatly expanded version of the excellent introductory track. It's all very 'Klaus Schulze' circa 1976. On a negative note, it gets too repetitive over it's lengthy duration with too few changes in direction to hold the listeners attention. The gradual but dramatic change in tempo is the only thing that warrants such a long track. Unfortunately it drags things down a bit.

At just 39 minutes running time some may feel a bit cheated out of their hard earned pobblebeads in purchasing such an album.

 Metatron by PINHAS, RICHARD album cover Studio Album, 2006
3.46 | 16 ratings

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Metatron
Richard Pinhas Progressive Electronic

Review by Dobermensch
Prog Reviewer

3 stars 'Metatron' is a far more 'Pinhas' centred album than the ultra noise monger 'Merzbow' from Japan. Richard pinhas' hero 'Robert Fripp' plays a large part on this recording despite being entirely absent, willingly or not, on this lengthy double album from 2006. There's a large amount of processed guitar trickery with 'Frippertonic' experiments at work on 'Metatron'.

From the outset Pinhas plays guitar through electronic filters creating a shimmering, floating atmosphere, which creates an hallucinogenic effect. Stand-in 'Magma' drummer Antoine Paganotti batters out some arrythmical jazz drumming over the top of Pinhas' flailing guitar. At times it gets too much, sounding like someone's thrown six bowling balls down some stairs. It's a mesmerising slab of art which is a bit like looking through one of those old kaleidoscopes. Everything washes around without any sense of direction in the most random way. I can tell you one thing - the vast majority of 'Metatron' is unscored and is clearly a free-for-all slowly evolving jam.

'Moumoune and Mietz' is the one true tune on this album and its wonderful. It's uplifting in the way the world's best National Anthem - the Italian - sounds. There's a lot of very odd, turbulent and off kilter 'Magma' drumming throughout which never repeats and is very engaging. It's like the 'Merzbow' Christmas Carol you never heard.

Intensely looped fragments of vocals appear on 'Shadda Blues' amongst swirling electronics. Let's just say that this is not good hangover material.

'Metatron' is an entirely instrumental album with occasional spoken words that has an underlying threat throughout. Like an albatross hanging over your shoulders, waiting for the ship to go down.

And now ladies and gentlemen, the historical bit: 'Metatron' is, according to Jewish medieaval apocrypha, Enoch, ancestor of Noah, who is transformed into an angel. I bet that grabbed your attention eh?

Now, if you can convert your brain into the vibe and oppressive atmosphere of 'Metatron' then you could well enjoy this enormous recording that lasts well over two hours. There's one or two moments of 'Heldon' territory that appear. In particular 'The Fabulous Story of Tigroo and Laloo'. Although it's not much of a story as no words are uttered at all. It is however reminiscent of 'Un Reve Sans Consequence Speciale' from '76. Full of wailing, stretched and groaning guitars while a jack-hammer 4/4 beat pounds relentlessly.

There's some unadulterated Robert Fripp guitar sounds on 'Tikkun part 2'. A shameless theft of guitar sound that 'Pinhas' is only too willing to replicate in respect of his idol. Not only that, he seems more than happy to let everyone know.

More impressive are the the beat-less guitar tracks such as 'Metatronic Rock' which display wobbly, reverberated and highly distorted guitars

This is a real mixed bag of lengthy tunes that sounds at war with itself, not knowing what it really wants to be. A lack of focus is the one criticism I can throw at this. It seems to wander from track to track, punching left and right but making no contact with anything. Thrashing about wildly, like a bag full of cats.

At the end of the day I find it difficult to identify the 'Merzbow' contribution. Of the 20 odd CD's I own by him I can't hear much of his input at all. Weird...

It's still a sonic electronic assault with all sounds being excellently produced and appearing crystal clear whilst played at high volume. Ultimately it's just all too long and drawn out. No matter how often I listen to this I hardly ever reach the end. Too much of the same stuff gradually wears me down. After two hours I've more than had enough. It seems like they could have done with a good editor.

Great in parts, but far, far too long. 'Metatron' turns into and endurance test for even the mightiest of minds.

 Iceland by PINHAS, RICHARD album cover Studio Album, 1980
3.99 | 37 ratings

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Iceland
Richard Pinhas Progressive Electronic

Review by Dobermensch
Prog Reviewer

3 stars At once robotic and martial in technique, the very electronic 'Iceland' sits comfortably in the Pinhas discography. He sounds like a less commercial, slower and heavier Kraftwerk. Some of it sounds like it should have been the official soundtrack to John Carpenter's 'The Thing' from 1982. Frequently it sounds like something awful is going to happen... it's just that, it never really does.

At times it seems to lose focus - particularly on 'Iceland pt 3' which takes a step backwards on what is otherwise a good electronic progressive album. I don't give a monkeys though - it's full of big fat splodgy analogue keyboards which keeps me entertained throughout.

The Robert Fripp inspired 'Heldon' guitars pop up now and again leading you to believe you're listening to 'Agneta Nilsson' from '76. This however is far more electronically based.

Pinhas has a definite sound and style all of his own that I would recognise anywhere and therefore he'll always be in my good books.

'Greenland' is the undoubted highlight on this recording. A slowly paced but tunefully arpeggiated sequence of electronic splendour.

The 25 minute beatless 'Wintermusic' is where things take a turn for the worse. In the past you could choose which side of vinyl album to put on the turntable. This would have been side two on an old crackly vinyl recording. Now however it abruptly joins the first half of the album on this cd version. The problem is that this would have been far better as the intro track. Everything's back to front when you hear it on CD.

As a whole however, this album may be a bit repetitive to some listeners. I however, find it enjoyable nonetheless.

 Iceland by PINHAS, RICHARD album cover Studio Album, 1980
3.99 | 37 ratings

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Iceland
Richard Pinhas Progressive Electronic

Review by Neu!mann
Prog Reviewer

4 stars This late '70s solo album by ambient synth pioneer Richard Pinhas may not be the coolest album hereabouts, but musically it's definitely one of the coldest: in terms of heat-loss reaching the absolute zero degree nadir of Progressive Electronics.

The best ambient music (as defined by ENO and others) is meant to be inseparable from its surrounding environment, and here's a perfect case in point. The inspiration for the album wasn't the tiny island nation in the North Atlantic, but a more general evocation of the light and space of higher latitudes, from Spitsbergen to Point Barrow by way of Siberia.

Part One of the divided title track sets the mood with a short series of chords hanging frozen in mid-air, setting up a shivering monotonic sequencer pattern overlaid like hoar frost with synth 'strings' and sound effects. Each note is so finely sustained that the actual warp of the master tape is audible, something I had always heard as a flaw in the vinyl until I upgraded to compact disc. Like the world it depicts the music is austere but beautiful, and seemingly untouched by human hands.

"The Last King of Thule" (the title references the mythical northernmost inhabited region of ancient Earth) reveals an altogether harsher landscape, with an urgent, almost industrial rhythm track and lots of atonal Fripp-like guitar soloing. A pair of shorter soundscapes (one of them a mere 35-second transition) won't provide you any relief from the chill, but a glorious exception to the album's arctic mood can be found in the final track, "Greenland": a wonder of simple yet hypnotic sequencers, real drumming (thank you François Auger), and lush orchestral synths, warm enough to melt the polar ice caps.

Even more impressive, and almost as long as the original LP, is the CD-only bonus "Wintermusic", a study in icy abstraction borrowing from the minimalism of FRIPP & ENO (two idols of Pinhas from early in his career). The length of the piece may look self- defeating, but give it time: there's a meditative calm at the heart of all the unending, overlapping drones, making a fitting extended epilogue to one of the more effective albums from the analog synth era.

Thanks to Philippe Blache for the artist addition. and to Quinino for the last updates

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