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Richard Pinhas biography
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: HELDON - 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 and distributed for free of charge in...
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Bureau B 2017
Audio CD$13.99
$39.31 (used)
Process And RealityProcess And Reality
Audio CD$10.00
$11.91 (used)
Audio CD$12.68
$12.67 (used)
Rhizosphere / Live In Parks 1982Rhizosphere / Live In Parks 1982
Audio CD$12.74
$7.76 (used)
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RICHARD PINHAS discography

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

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

3.02 | 18 ratings
3.70 | 27 ratings
4.01 | 29 ratings
3.03 | 12 ratings
East West
3.86 | 19 ratings
3.64 | 5 ratings
3.00 | 4 ratings
Cyborg Sally
2.08 | 3 ratings
De l'Un et du Multiple
0.00 | 0 ratings
Schizotrope: the Richard Pinhas & Maurice Dantec Schozotropic Experience
2.75 | 4 ratings
Events And Repetitions
2.98 | 4 ratings
3.48 | 14 ratings
4.00 | 1 ratings
Keio Line (with Merzbow)
0.00 | 0 ratings
Metal/Crystal (with Merzbow and Wolf Eyes)
4.00 | 3 ratings
Rhizome (with Merzbow)
3.00 | 2 ratings
Desolation Row
2.95 | 2 ratings
Welcome... ... In The Void (with Yoshida Tatsuya)
2.33 | 3 ratings
Tikkun (with Oren Ambarchi)

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

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

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

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

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


Showing last 10 reviews only
 Welcome...  ... In The Void (with Yoshida Tatsuya) by PINHAS, RICHARD album cover Studio Album, 2014
2.95 | 2 ratings

Welcome... ... In The Void (with Yoshida Tatsuya)
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! 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
3.70 | 27 ratings

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
3.02 | 18 ratings

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
3.48 | 14 ratings

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
4.01 | 29 ratings

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
4.01 | 29 ratings

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.

 East West by PINHAS, RICHARD album cover Studio Album, 1980
3.03 | 12 ratings

East West
Richard Pinhas Progressive Electronic

Review by Neu!mann
Prog Reviewer

3 stars For his last album of the 1970s, guitarist / provocateur Richard Pinhas incited a kinder, gentler form of musical dissent, just in time to exploit the dumbed-down expectations of a more accessible decade. It's not exactly techno-pop (although the song "West Side" comes uncomfortably close), but the album certainly represented a conscious effort to simplify the once radical manifesto of his erstwhile band HELDON.

Nine brief tracks (actually less: one was needlessly repeated) were squeezed into the album's 38-total minutes, with most of the cuts arranged in the radio-friendly four-minute range, including a DAVID BOWIE cover ("Sense of Doubt", from his "Heroes" album), and at least one misguided stab at the singles market. Needless to say, it was a major change of pace for an artist who only six years earlier had released an album appropriately titled "Électronique Guérilla".

A saving grace is the lack of digital instrumentation. Sampling technology would homogenize the music industry in the 1980s, but here the analog synths still retained their distinct character, and the textured rhythms even more so. "Sense of Doubt" carries its shambling beat in what sounds like a kitchen broom snagging on cheap linoleum; "Paris: Beautiful May" has a liquid castanet accent underneath its lilting synth melody and Fripp-like guitar sustains. (All the tracks, by the way, are identified geographically: New York, Kyoto, Paris and so forth. The Bowie song is linked to London, instead of the more obvious Berlin.)

And then there's "Houston 69", the only selection to feature an actual drummer: old comrade François Auger. But was the repetition of the track at the end of the album a makeshift bid for artificial closure, or compensation for the overall shortage of material? Maybe the song was included twice because it's the best thing here by far, with the restless momentum and alarming vocoder-vocals resembling a stripped-down, economically remodeled update of Heldon.

Elsewhere the album is synthetically repetitive, but in a too lazy and mechanical way. This isn't the hypnotic pulse of classic TANGERINE DREAM, although maybe Pinhas was simply dogging the footsteps of his German role models into the brave new commercial world of the 1980s.

Whatever his motivation, there's something a little disturbing about hearing such an outspoken musical agitator poaching on territory previously claimed by the likes of VANGELIS or JEAN MICHEL JARRE. But the lack of any real challenge at least has a silver lining: it's the perfect first step for newcomers to the more seditious discography of Pinhas and Heldon.

 Rhizome (with Merzbow) by PINHAS, RICHARD album cover Studio Album, 2011
4.00 | 3 ratings

Rhizome (with Merzbow)
Richard Pinhas Progressive Electronic

Review by Guldbamsen
Special Collaborator Retired Admin

4 stars Electronic drizzles

Well blow me sideways! The year 2011 seems to be a far better year for music than what I originally thought. This album blew me right out of the water, and while I have had a long time love affair going on with Richard Pinhas and what he did with Heldon, his newer releases have somehow escaped me completely. I've never taken the plunge, but boy am I glad I did!

On this highly intoxicating release he works together with Japanese noise artist Merzbow, who is (in)famous for being too loud and abrasive for people over 25. I know, because I've had similar thoughts and preconceptions about him, and never really cared to take a chance on his power white noise electronics. So what we have here is actually my Merzbow cherry being popped as well as my initiation into the modern French Frippertronics shaman - Monsieur Pinhas.

I expected this to be grinding, abrasive, jarring, avant guarde and noisy like a broken robot practising kung fu from the insides of a skip, and what I got was a voyage into these soothing and relaxing musical oceans - that had me cursing and shouting at myself for being so uptight and narrow-minded - not having the courage to sample this collaboration earlier on in the year. Sometimes the hardest boundaries we face, are indeed the ones we conjure up ourselves for no reason whatsoever other than perhaps latching on to our fake and hollow safety nets. Futile I say!

Pinhas sounds better than ever, sling-shooting himself around these orbital sound textures - like the Icarus likened flight of Apollo 13 conveyed in guitar sorcery. He plays that thing with the confidence of an old man who trust nothing else than music, maybe because it never deceives, but that's for another written essay altogether, - and yet what strikes me the most about this man's playing, is his will to push the limits and add to the music that little extra - making it intensify, loop, shrink, dissolve or transform into these immense tunnelling vortexes of shimmering sound. Some of this is distorted and muddy - akin to Lou Reed's Metal Machine Music yet highly ethereal and fruitful without ever coming across like music you'd use for interrogation or as paint peeler. Other times the guitars take on the character of electric howling wolves - crying out in the most beautiful and yearning way - almost loosing its natural timber in the process for something completely different, which is what in the end colours this album in a kind of otherworldly shine. These almost frightening overpowering inhuman electrified wolf howls slicing through in the music - reaching for the skies in icy cathedrals of sound. Beautiful like knives of glass.

Merzbow is the carpet supplier. He weaves the Persian rugs here, which in all fairness are nowhere near your every day rugs - these are dense as rainforests and thick like maple syrup all at the same time - y'know those carpets that grab you - holds you in threatening to smother you in woolly harshness of floor pillows and eiderdown thickets. The electronics emanating from this guy is like electronically charged drizzle - electrified raindrops that are so small and minute - yet so extreme in numbers that you have an entire surface upon surface upon surface of these electronic drizzles - multiplying and zooming in and out of a seemingly ever changing rainy day flickering mosaic. Combined with what Pinhas is trying to do with his yearning fuzzy guitar experiments, somehow these drizzles put their arms around you like warm summer rain - comforting and nurturing you like manna from the heavens.

This album is like mermaid music, or maybe like worming Japanese eiderdown tunnelling raindrop music coming from underground and upwards - always upwards. It's fizzing like a sparkling soda-pop - feels like putting your head too close to the bottle after removing the cap - getting showered in all these bubbling stenches whilst hearing the miniature sounds of the jumping gassy water calling you from the surface of the drink: We are the bubbles!!!! 4.5 stars and maybe more in time. What a beautiful album!

 Rhizome (with Merzbow) by PINHAS, RICHARD album cover Studio Album, 2011
4.00 | 3 ratings

Rhizome (with Merzbow)
Richard Pinhas Progressive Electronic

Review by colorofmoney91
Prog Reviewer

4 stars More of the same, but why try to fix what isn't broken? As the cover of this album implies, this is an experiment in the beast versus beauty, and the wonderful companionship that can result from the two also coming together.

Being a fan of the previous Pinhas and Merzbow collaboration album, deciding to listen to Rhizome was a no-brainer. I'm kind of surprised that it's taken me so long to do this review since I've been listening to this album for months now.

This album is very similar to Keio Lane; the Pinhas-tronic guitar looping, the comfortably noisy Japanese electo-experimentation, and the sonic density that results is as good as it was before. One thing that is especially interesting about this collaboration is that Merzbow's influence is much more "Merzbow" than with his collaborations with other artists, where he is forced to tune down his noisiness almost completely as if he weren't even there (like with Boris). Richard Pinhas and Merzbow meld their styles to work in the forefront of the music rather than let either one of them fall behind into the backdrop, which definitely adds to the incomparable density and the soothing/harsh dynamic. Soothing and alarming, ethereal and grinding, there are plenty of seemingly paradoxical adjectives that can be used to describe this album.

Pinhas' guitar looping and noodling is the same as before, giving off both the cold and warm radiating audio sensations found in his best work, as always sounding like a much more interesting alternative to Robert Fripp's Frippertronic methods. Though Merzbow isn't forced to pull back too much on his noisiness, it's worth mentioning that this definitely isn't "harsh" compared to his solo work (this is only about as harsh as Music for Bondage Performance or Kamadhenu which are among the most subtle of Merzbow's discography). Instead, these two artists really work together to accentuate each other's sound, creating music that is soothing, compelling, dynamic, active, and unique.

Each of the tracks on Rhizome run together as one, resulting in an album with layers and layers being added and released in a continuously developing cycle until it all climaxes and ceases. A close visual counterpart to this album would be watching sped-up time lapse footage of glaciers melting and refreezing from the sun's influence. Some of the tracks have moments of profound rock influence (something new for the duo) while maintaining the loud ambiance that mostly defines this collaboration.

Rhizome is a great album that displays the best of Pinhas and Merzbow's talents, and should appeal to fans of the solo work of either Merzbow or Pinhas as well as their previous collaborative album.

 Chronolyse by PINHAS, RICHARD album cover Studio Album, 1978
3.70 | 27 ratings

Richard Pinhas Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars Far more synth-dominated than his concurrent work in Heldon, Richard Pinhas' Chronolyse is an electronic tribute to Frank Herbert's famous Dune saga. In terms of compositional style, the album takes its lead from Klaus Schulze (who would record his own Dune album some years later) - half the album consists of "busy" pieces with plenty of electronic tweeterings going on, whilst the other half (the track Paul Atredes) is slower and more ambient, growing gently towards thunderous climaxes towards the end. Schulze fans interested in Pinhas' work might find this one a nice place to start before exploring his Heldon work, whilst Heldon fans will enjoy hearing Pinhas produce an album that doesn't rely on Robert Fripp-inspired guitar heroics.
Thanks to Philippe Blache for the artist addition. and to NotAProghead for the last updates

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