ART ZOYD

This is the first of three soundtracks ART ZOYD did for those silent horror movies of the twenties.This one is for F.W. Murnau's 1922 released movie called "Nosferatu" which was based on Bram Stoker's book called "Dracula".Interesting that Stoker's widow sued Murnau for copyright infringement and won.All copies of his movie were destroyed although bootleg copies survived.The lineup on this album is the same as on the previous one "Berlin".I have to say off the top that this surpassed my expectations by a wide margin.This is incredible! In fact i'd like to quote some of Kai Karmanheimo's thoughts because he says it so perfectly: "Dissonance is prolific,tonality itself unstable and hummability lies dead in it's coffin,but instead of chaotic and cacophonous,the music comes across as rigorously regimented and ruthlessly repetitive,with individual instrumental links subjugated and blurring together to create a singularly sinister impression". He goes on to say : "...it's the choice of timbres,the sizzle of sinister electronics,that sustain the music through minimilist episodes and obsessive repetition and makes "Nosferatu" more interesting in my ears than ART ZOYD's earlier,predominantly acoustic works that i have heard".So we get 17 tracks at almost 53 minutes and three bonus tracks from a ballet called "Vornange" they did a year earlier.Those three tracks give us over 17 minutes of excellent bonus material.Hourbette composed 8 of the tracks on "Nosferatu" with Zaboitzeff composing the other 9 songs. "L'oef Du Serpent" opens with a dark atmosphere and percussion before this almost buzzing sound comes in.This is a powerful soundscape that will make you restless. "L'agent Renfield" is also dark and haunting before it calms right down.Strings before 2 minutes as it turns dark and creepy.Sounds like a beast is on the prowl.I don't think his name is Edward either.A calm with piano ends it as the danger has passed. "Le Voyage De Harker" is eerie with outbursts that are alarming to say the least.We start to get a rhythm that sounds like the train to hell.It's like your too afraid to move but you can't stay where you are.This is freaking scary! Chimes on the next short track before we get to the wind blowing(it's like there's voices in the wind or is that my imagination) on "Le Chateau" with loud sounds coming and going.Then we hear the birds chirping 2 minutes in with flute,bass and strings to follow.Morning has come and the danger has again passed for now. 'Nosferatu" has these striking abrasive sounds with strings.This is all very disturbing. "L'oeuf Du Serpent II" is what i'm sure fear sounds like. "Rumeurs" opens with percussion and other unpleasant sounds,then that wind starts blowing again with those voices crying out in horror.Or is that my mind playing tricks again. "Rumeurs II" has lots of atmosphere and it's not enjoyable. Pulsating sounds on "Anaphase" and other creepy sounds that will make your hair stand up before "Le Maitre Arrive" takes over.Cold piano lines and vocal melodies early before it changes to a fuller and richer sound.Back to the keys and vocal melodies to end it. "Rumeurs III" has these deep throaty spoken words part way through before we get a children's choir with keys then sax."Les Docteurs" is almost catchy with that slow rhythm. Samples of a woman talking and birds chirping on "La Peste". "Livre Des Vampires" is scary."Anaphase II" is darker with percussion and sax.Powerful. "Le Maitre Vit Mort" is dramatic yet melancholic.Then flurries of piano with weird vocal samples take over. I'll be breaking this out on halloween this year.I still think "Berlin" is better but man this is impressive.

Gerard Hourbette and Thierry Zaboitzeff share in the creation of these songs fairly evenly.Three of the four members play keyboards,we also get lots of percussion,cello,violin and piano.Yes the electronics are starting to become prominant in ART ZOYD's sound at this point in their carreers(1987).Some sampling in this one too.There are two 20 minute tracks as well as five shorter ones.This is quite dark at times although it's nothing compared to "Nosferatu" the next album from them. The 20 minute "Epithalame" opens the proceedings.This is fast paced with piano,sax and percussion standing out.It settles before 3 minutes but kicks back in quickly.It starts to unwind until all you hear is piano before 6 minutes.Another piano comes in as they play together fairly slowly.It eventually it starts to build again before 9 minutes.So cool! Sax 11 minutes in.It settles down 13 minutes in as organ and heavy drums come in.Piano and sax 16 minutes in.Great sound a minute later.Drums are back. "Baboon's Blood" has this catchy almost industrial beat.Drums and strings join in followed by rough theatrical vocals.He's laughing at times. "Petite Messe A L'usage Des Pharmaciens(Offertoire)" opens with electronics and other sounds that come and go.Bells and sax included. "Petite Messe A L'usage Des Pharmaciens(Kyrie)" opens with keyboard sounds as piano joins in.A haunting atmosphere comes and goes.Amazing soundscape here.Vocal sounds 2 1/2 minutes in. "A Drum,A Drum" is the other 20 minute track.This one is an unreal ride into the unknown.A dark atmosphere as a beat and vocals pulse until it stops before 3 minutes.An eerie mood takes over.It sounds like a plague if that makes any sense.A new beat then comes and goes.Vocals 4 1/2 minutes in.Weird samples come and go too.A change 8 minutes in and drums follow.Keys followed by vocals and cello/violin.Another change after 13 minutes as spoken vocals come in.Check out the heavy beat with bass 14 1/2 minutes in.A heavier beat is back 16 minutes in.Violin and cello are joined by vocals.It's haunting late followed by keyboards. "Petite Messe A L'usage Des Pharmaciens(Introit)" features these water sounds throughout.Synths,percussion,vocal melodies and samples come in. "Unisex Me Here" is led by cello and violin.The vocals before 2 minutes are well done.Organ and sax help out.I like it! No question about the 4 star rating on this one.

The third studio effort by Art Zoyd (the first one with pianista Patricia Dallio in the band's line-up) is an excellent sample of the gradually more aggressive approach to chamber-rock to be pursued, and then re-invented in following albums. "Génération Sans Futur" goes to more obscure places than the notably more ethereal preceding release "Musique Pour L'Odyssée": Art Zoyd's musical ideology has always been focused on exploring the sinister sides of the human mind and the universe in an avant-garde pattern, and this album finds the band delivering a special twist through its cohesive trend. 'La Ville' occupies the album's first 17- minutes, getting started with mysterious whispers, piano beats and nervous flourishes on violin, while the wind instruments relay a properly sustained climax. Right before getting at the 2 ¾ minute mark, the track's main body is set upon a solid basis of bass and violin upon which the trumpet and sax interact in delirious colors and the lead guitar displays controlled phrases. The augmenting neurosis does not take too long to manifest itself, but it indeed makes an unforgettable momentum. A new motif emerges on a less frantic note, albeit not less demented: the pulsating dissonant sounds on brass and strings and bassist Zaboitzeff's chanting state a very surreal, disturbing landscape. Before the arrival of minute 10 comes a very relaxing passage, bearing a minimalistic aura full of mysterious undertones. Actually, this passage serves as a bridge toward the track's final section, which retakes one previous motif with an enhanced pomposity, leading the track's development to a terrific grand finale in a most cerebral way. 'Speedy Gonzalez' takes its name from a cartoon mouse, a very funny character whose cocky nature and Latin lover manners helped him to overcome any trouble that came his way. Regarding the Art Zoyd piece itself (written by saxophonist Renard), this is a very gracious one, bearing a colorful playfulness that comes to show that avant-rock (even in the guise of chamber-rock) can also provide optimistic moods. Well, the album's second half gets started with the title track, whose initial ceremonious ambience set on a lyrical framework states an unequivocally evocative mood. But there must come a time when the Art Zoyd standards of neurosis and tension emerge and take hold of the whole situation, and when this moment comes for this specific track, things get really dense and disturbing, even enhanced with jazzy leanings. The environment gets dark and somber, and Daniel Dennis' participation as a guest drummer/percussionist happens to be a major asset at this. The last 90 seconds are focused on a set of syncopated deliveries on strings and woodwind that might as well resemble 73-75 King Crimson. In comparison, 'Divertissement' brings less emphasis on the disturbing and enhances the majestic, giving a protagonist role to the stringed instruments' interventions. 'Trois Miniatures' (penned by Eckert) closes down the album with a taste of modern jazz-fusion in this mini-orchestral context. Eckert's phrases are exquisite beyond words, with his partners being the perfect accomplices in the elaboration of subtle nuances through the basic harmonic scheme. There is a vital interlude that sets things on fire toward a climax, but basically the track is focused on its well-defined main body. "Génération Sans Futur" has a special importance in Art Zoyd's history, since it signifies the tendency to create an ever-robust sonic source in the rams of RIO. Being Alan Eckert's swansong in the band (besides the re-recording of the first album), this is a great way to depart and go through a different road.

— First review of this album —

Back in the early 70's, Art Zoyd was led by guitarist Rocco Fernandez, sole founding member to be present until the mid-70's. Then, the remaining members exchanges their drums and guitars for violins and trumpets! Needless to explain the music of this incarnation of the band was far from the new chamber music created by the line-up of the first LP: Sangria and Something in love offer a kind of psychedelic rock, extravagant but not very surprising.

If interested by this piece of history, you don't have to search for this single, as the two tracks had been released on the Archives I CD and on the new edition of Symphonie pour le jour où les cités brûleront...

An object of curiosity rather than an essential piece.

For me this is the least enjoyable of the first 4 albums.It doesn't help in my opinion that this is a double album.Yes there is a lot of incredible music on this recording, but i also feel there is a lot of meandering and some average passages(average that is for Art Zoyd). The first track as usual is brilliant, and the best of the lot.This really recalls previous albums, the way they contrast those intense sections with the calm passages.The first 4 minutes features a lot of horns,violin and piano and then we are hit with a dark,intense section with vocals.It becomes uptempo again 7 minutes in.Dissonant horns,deep bass and vocals all before 10 minutes.Check out the bass lines 11 1/2 minutes in as horns play on.Deep,dark hum sounds to end it.Classic ART ZOYD. "Naufrage" features piano and violin before a full sound 2 minutes in.Great soundscape a minute later that is very intense.A calm follows but it doesn't last long. "Derniere Danse" opens with violin,bass and horns.Cool sounding tune.Dissonant horns 2 minutes in before it settles down with some deep bass.The tempo picks back up before it ends. "Et Avec Vetre Esprit" is the fourth amazing song in a row.Piano and horns lead the way before bass joins in.Great sound.It calms down with choir sounds 2 1/2 minutes in.More tension 4 minutes in. "Ballade" is where i feel they start to lose me.This one is brighter sounding for the first 2 minutes then heavy bass and blasts of horns come in.Nice.It then settles back down. "Deux Preludes" is a short mellow track of horns and piano. "La Musique D'Erich Fals" is mere seconds of scraping violin sounds. Disc two begins with "Chemins De Lumiere" a 15 minute killer track that starts with piano and a dark mood.Some suspense when the violin comes in around 3 minutes.Piano again takes the lead after 4 minutes as violin and horns take a back seat.Piano is the dominant instrument on this song. "Du Sang Sur La Neige" is my favourite from disc two.The dissonant horns AND violin are incredible. "Vue D'un Manege" again features piano,horns and violin.Themes are repeated.Good tune. "La Nuit" is 13 minutes long and the most difficult to get through.There isn't much going on for the last half of the song. "Les Larmes De Christina" features dual piano melodies,horns and violin. Barely 4 stars for me,this is a lot to digest.Certainly this is their most ambitous recording so far,but i'm just not enjoying it as much as the first three albums.

4.5 stars.This one took me longer to get into than their first two albums.It's still growing on me though and may well become my favourite.Daniel Denis from UNIVERS ZERO is back guesting on percussion. As usual ART ZOYD starts off their record with a long epic. "La Ville" opens with a dark, tension filled soundscape.This is great! Violins come in to add to the suspense. It changes after 2 1/2 minutes as horns,percussion and violin take over.Guitar 4 minutes in followed by a blast of horns after 5 minutes and a heavy beat.A collage of intricate sounds follow.This is incredible.Vocals yell with dissonant horns before a calm 6 1/2 minutes in.More vocals before 8 1/2 minutes with some great bass and violin.This is fairly heavy.More dissonant horns 9 1/2 minutes in.A calm with violin a minute later as it continues at a slow pace. It kicks back in before 14 minutes as lots of violin and horns end it. "Speedy Gonzales" is an uptempo track(what else) with some amazing interplay.Everyone seems to pitch in on this one. "Divertissement" opens with mournful violin melodies as cello comes in(or other way around).The tempo picks up after 2 minutes with lots of strings.It slows down 4 minutes in and sounds quite dark.It becomes almost waltz-like to end it. "Trois Miniatures" blew me away the first time i heard it because it sounds like canterbury.The keys especially really give it that flavour.I like the intricate guitar as well.Some crazy violin 2 1/2 minutes in with some odd sounds.Back to the canterbury vibe 3 1/2 minutes in.Some heavy bass follows and intricate guitar. Great track! "Generation Sans Futur" has this heavy undercurrent to open with percussion as violin comes in.Horns 2 minutes in.It calms right down beautifully before 4 minutes, then heavy ground shaking sounds come and go.Check out the bass 5 minutes in as horns blast.The tempo then starts to pick up as piano and all kinds of intricate sounds come in. Chaotic and intense 6 1/2 minutes in.A calm 8 minutes in as violin plays. Well all i can say is that the first three albums by ART ZOYD are nothing short of incredible.

4.5 stars.I've been trying to decide which of the first two ART ZOYD records i like best,and it really is a toss up for me.Too close to call right now.Both have their different strong points,and both are must haves as far as i'm concerned. "Musique Pour L'Odyssee" is the side long opening track.Lots of tension to open as it begins with heavy bass and violin then another violinist joins in.The tension subsides after 2 minutes as horns and other sounds come and go.Lots of intricate sounds 3 1/2 minutes in,especially horns.A calm a minute later. Vocal chants with sax blasts after 7 minutes. Another calm 8 1/2 minutes in.More horns with chanting with deep bass lines and violin 10 minutes in.These guys are amazing.Yes it calms down again, this time 12 minutes in as we get lots of atmosphere.The intensity starts to build with violin and horns.Another dark calm 14 minutes in and then it's building again.Chants after 16 1/2 minutes to the end. Incredible! Such a dark and intense track. "Bruit,Silence-Bruit,Repos" is a brighter track for the first two minutes and then the song stops as violin comes in slowly, although the tempo picks up.Lots of violin after 4 minutes as we get some fat bass and horns. Guest aboe from UNIVERS ZERO's Michel Berkmans before 6 minutes.Certainly after the first 2 minutes this song becomes dark and at times atmospheric.A frantic outbreak after 8 minutes.More fantastic bass and violin 9 1/2 minutes in. "Trio Lettri D'automine" really has it's focus on the violins as they almost echo at times,they really dominate this dark and intense track. I really like the cover art for this one as well.Dark,intense and stormy just like the music.

4.5 stars.ART ZOYD were among the second wave of Rio bands to come upon the scene in the mid-seventies.They are closely linked to UNIVERS ZERO,in fact Daniel Denis has played percussion on some of their recordings.It should be noted that ART ZOYD do not have a drummer, and when they do use percussion it is very sparingly.The music on this their debut i would describe as chamber rock reminding me a lot of UNIVERS ZERO but with a zeuhl flavour at times.This is often dark and intense but above all wonderfully played. "Brigades Speciales" opens with theatrical male vocal melodies that remind me of Basquiz while the music sounds like MAGMA.Trumpet and deep bass follows.It settles down to an eerie calm as violins and horns play softly.It kicks back in after 3 minutes with trumpet blast and great band interplay.This contrast continues.It becomes quite powerful 7 minutes in and check out the bass a minute later! Violin and another powerful soundscape arrives 9 1/2 minutes in that has to be heard to be believed.Intense! Some yelling and chaos 12 1/2 minutes in.What an opener! "Masques" opens with what sounds like congas.Violin comes in mournfully followed by dissonant horns then deep bass lines as violin returns.It gets very intense 5 minutes in.These guys are incredible! Those zeuhl-like vocals make an appearance before 7 minutes.Love the jazz flavour 8 minutes in before the song kicks back into gear. "Simulacres" opens with horns before it becomes heavy rather quickly.Deep bass as outbursts of sounds come and go.More great bass 4 minutes in before another outburst.The suspense starts to build until your on the edge of your seat 6 minutes in.Awesome! "Les Fourmis" features lots of bass,horns and violin.Crazy vocals after 1 1/2 minutes in the Rio tradition.It gets kind of silly instrumentally 3 minutes in.Check out the guitar before 5 minutes! Where did that come from? "Scenes De Carnaval" opens with horn blast before violin arrives a minute in.A calm after 2 minutes but dissonant horns and vocals change that.More vocals after 4 1/2 minutes with a calm a minute later.The bass is tremendous throughout.It becomes eerie 5 minutes in until smooth sax arrives 7 1/2 minutes in.It ends with an instrumental and vocal outburst. A must have for Rio and UNIVERS ZERO fans out there.These guys are as good as advertised,if not better.

Another work from the series of 'soundtracks' for the silent movies of the XIX century. Following albums such as 'Faust' or 'Häxan', this one is about the movie of the same title as the album. I'm a big admirer od AZ music and maybe because of that I expected more of this one. After 2-3 listenings however, not much of the music remains in mind. Probably because there isn't much memorable music on this CD. Unfortunately. Only two stars.

This is excellent, (literally) stunning music - sheer passion and conviction meeting compositional and ensemble virtuosity in head on collision.

The music of 'Art Zoyd' is similar to that of contemporaries 'Univers Zero' and 'The Present' in that one could consider it contemporary art music which has a level of intensity and drive in common with rock music - here largely thanks to the bass guitar and the propulsive rhythms and forceful playing of the virtuoso ensemble.

The instrumentation of Art Zoyd on this album (lacking a drum kit and being light on electric guitars - and with prominent violins and winds) also adds weight to the art music classification. In a way the dark atmosphere and its use of spiky repetitive figurations reminds me of some the music of Louis Andriessen (e.g. De Staat) - and I wonder what analysis has been done, if any, to compare Belgian RIO to Dutch post-minimalism and its New York and UK offshoots - is there a connection?

The vocals - when they occur (in about 15% of the music here) are completely unconventional in any rock sense - sounding demented and tortured.

The harmonic language is very chromatic (favouring 2nds and tritones), but the measured repetition provides the listener with the necessary clarity.

The production is wonderfully clean and clear and the ensemble EXTREMELY tight with numerous quick fire unison passages and the execution of complex interlocking rhythmic figures - just listen to the closing 3 mins of 'Simulacres'!

This is very special music... created to exist where the visceral meets the intellectual.