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Patrick Vian biography
PATRICK VIAN, a son of Boris Vian (a French poet / writer / jazz musician), was born on Apr. 12, 1942 in Angoulême, France. Obviously influenced by his father Boris, he had been much interested in music and joined various rock projects including RED NOISE as a guitarist in his student days. After Red Noise disbanded, he composed and offered some of the music for the film named Hu-Man (produced by Jérôme Laperrousaz) in 1975. And finally in the following year, as a synthesizer player, Patrick recorded his solo work "Bruits Et Temps Analogues" (1976), produced by Jérôme Laperrousaz and released via Egg label, owned by Barclay Records (lots of promising musicians like Vangelis or Tim Blake were under contract with this company).

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3.99 | 15 ratings
Bruits Et Temps Analogues

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 Bruits Et Temps Analogues by VIAN, PATRICK album cover Studio Album, 1976
3.99 | 15 ratings

Bruits Et Temps Analogues
Patrick Vian Progressive Electronic

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars French artist Patrick Vian, formerly of Seventies avant group Red Noise, released his one solo album `Bruits Et Temps Analogues' in 1976, and what a baffling yet intriguing electronic-related album it is. A colourful and confusing work that perhaps occupies the mindset of Vangelis' unconventional albums from the same decade, or even Manuel Göttsching's Ashra in just a few moments, but without leaving quite as much of an impression as those works did, it's a mix of progressive-electronic, jazz/fusion, ambient, blues and avant-garde that makes it quite fragmented and disjointed, yet full of experimental potential that was never followed up on.

Chilled bluesy guitars may burn over whirring Moog and trilling synths throughout opener `Sphere', but `Grosse Nacht Musik' is pure floating electronic ambience full of mystery and wonder, and one of the best pieces on the LP. Quickening murky loops, drowsy guitar bends, lonely faraway flute, gentle sounds of nature and hypnotic electronics drift through `Oreknock', which might have easily come from the early Deuter albums, and the Vangelis-like synth experiment `Old Vienna' closes the first side.

Glistening Fender Rhodes electric piano and slow-burn funky guitars weave between splintering synth ripples on `R & B Degenerit!', percolating percussion carefully builds behind marimba as the Gong-like `Barong Rouge' slowly unwinds (unsurprising to find guest musician Mino Cinelu here, who actually played on that band's `Shamal' album, and in Zao and Weather Report), the maddening sequencer patterns of `Tunnel 4, Red Noise' cause instant mind-meltdown via bubbling freeform electronic nightmares, as if the groaning hostile mutant offspring of Pink Floyd's `On The Run' and mid Seventies Tangerine Dream are making violent love, `Bad Blue' is a jazzy piano interlude with a hint of darkness, and `Tricentennial Drag' is a fractured cut-up sound collage.

Fascinating, frustrating, unique and frequently gently precious, Patrick Vian's `Bruits Et Temps Analogues' is maybe not essential, but it still makes for an interesting and diverting little electronic curio that holds real magic in a few little spots, while also growing stronger with each listen. Electronic listeners, take a break from the big names of the genre and explore the little guys like this one, easier than ever before with the recent CD reissue!

Three and a half stars, rounded up to four!

 Bruits Et Temps Analogues by VIAN, PATRICK album cover Studio Album, 1976
3.99 | 15 ratings

Bruits Et Temps Analogues
Patrick Vian Progressive Electronic

Review by admireArt
Prog Reviewer

5 stars Yes, 5!

PATRICK VIAN's, "Bruits Et Temps Analogues" is using "taggins", a 1976, electronic music work, that goes from electronics to prpg's cross-over and other un-proggy destinations. To try to nail this whole work, I will mention "progressive electronic aesthetics" + "world/Jazz-fusion without the "exotic Imperial approach" + "serious music composition", yet un-pretentious, just "genial" and from there to "contemporary classical" music constructions brushes with prog's "symphonic" and RiO's proposals and the inevitable "Ambient" taggin.

It will turn un-wise for a unique release not to mention the impeccable musicians alongside Vian's moogs and piano. Drums are poignantly and cheerfully played by Mino Cinelu well aquainted in fact with a wide spectrum of Prog bands (Gong, Weather Report). Percussions runs on the hands of Georges Granier who also adds Fender Rhodes, marimba, noise and "scissors" to his collaboration. The very welcomed flavor of Bernard Lavialle (Ame Son) , on the electric guitar makes this album "rock" where needed and soft if it happens.

What else can I say............ It is completely absurd to miss this ***** 5 PA stars work, now that you know about its existence. "And miss the "bliss". Creative, Progressive/Electronic/Non-blues/Rock/Jazz constructed, crossing over to Electronic/World/Ambiental/Contemporary computer Music"........ in the perfect world of "taggings" it will sound like that....and still, I will miss something. A lost "Prog Jewel".

 Bruits Et Temps Analogues by VIAN, PATRICK album cover Studio Album, 1976
3.99 | 15 ratings

Bruits Et Temps Analogues
Patrick Vian Progressive Electronic

Review by Dobermensch
Prog Reviewer

3 stars An altogether different proposition to his previous band 'Red Noise's' 'Sarcelles Lochères' which appeared 6 years earlier. This is far more synthetic and electronic in application. It's a pity it has only been released on vinyl (as far as I know) because this would sound great cleaned up for a cd release.

There's some out of place guitar on the first track, but it's pleasant enough with it's synthesised sound. It's what follows that is particularly good. Lots of really nice 70's electronics, ethnic percussion and jungle sounds.

'Old Vienna' pretty much sounds like a track from Wendy Carlos' 'Clockwork Orange'. He's got that Tangerine Dream throbbing bass thing going on in the background which helps quite a bit as I'm a sucker for that kind of thing.

There's really quite a lot going on here, with 'Barong Rouge' sounding very Gamelan in nature with reverbed guitar and metallic pots and pans being thwacked.

You also get some early sequencers thrown in along with squelches and squeals from various electronics. Slowed down and speeded up tape samples along with Laurel and Hardy car horns makes my day towards the end.

I feel rotten giving this a three rather than four star rating. Probably because it's on crackly old vinyl. Harumphh!

A pretty good effort

Thanks to DamoXt7942 for the artist addition.

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