The French progressive rock scene

Written by Philippe Blache
(special thanks to Tony)

The events of May 68 in France triggered off the emergence of the French rock scene, most notably the progressive one. The collective reaction of the young generation towards the system and the government was, to a lesser degree, similar to the anger expressed during the Vietnam War for the USA by the hippie movement. It was during concerts and performances in small places in the Parisian underground that bands began to rise from obscurity.

At the end of the sixties and the very beginning of the Seventies bands such as Ame Son, Fille Qui Mousse and Red Noise were successful locally in making their name despite the dominance of mythical bands of the time which largely came from England or the USA. The English Pink Fairies, the Doors and off course Arthur Brown were among the most notorious figures of Paris' musical nights, essentially touring in clubs and historical "underground" places as the Rock'n' Roll Circus. Among the first wave, the multi-national collective of Gong was at the head of the free-psych rock French rock movement. Daevid Allen's tribe had stayed in France until 73 for the recording of one of their most famous albums "Camembert Electrique". Dashiell Hedayat (usually known as Jack Alain Leger for his writings and translations) who also recorded with Gong has published during the same period two personal space rock albums inspired by that poetry and the "acid test".Lesser-known than Gong, Ame Son figured as an important and notorious band during these early years. They were recognized to be the first to express the psychedelic rock musical sentiment here in back in the 60's.

Nearer to "Canterbury", Carpe Diem is an interesting jazz-rock band with classical arrangements. Published in 1975, their first album "En regardant passer le temps" is an album which mixes musicians' virtuosity to an achieved sense of "groove" and melody. In these early days, their sound was quite unique on the French scene. For others, intricate works in the genre of classic English progressive rock bands as Genesis, Pink Floyd and King Crimson, the second wave includes Pulsar with their mysterious and dreamy "Halloween" (1977), Asia Minor and their sophisticated and very orchestrated "Between Flesh and Divine" (1981). Shylock which released two albums at the end of the seventies ("Gialorgues" / "Ile de Fievre") has made an interesting dialogue between King Crimsonesque style and avant-garde influences.

Far removed from Gong and others, impregnated by the "Canterbury" scene and more orientated towards avant-jazz, experimental rock is the popular French progressive band Magma. Christian Vander's incredible music is maybe the only time a band from led to the explosion of an entire sub-genre: Zheul! Magma's hybrid contemporary jazz music was rapidly followed by other strange & original French bands as Zao or Dün. The influence of Magma music is seen everywhere. Many new Japanese formations carry echoes of this atypical musical universe. Still in the experimental side of French rock music, Fille Qui Mousse was one of the most original. In opposition to classic rock standards they delivered avant-rock, radical compositions as Faust, Can had done. The free fusion rock quintet Camisole was in the vanguard of the RIO sound, delivering uncontrolled, improvised, theatrical rock songs, breaking all musical conformism. The band was at its peak in 1977, just before its meeting and fusion with Lard Free and appearance on the project "Urban Sax" founded by Gilbert Artman (Lard Free frontman).

Another incredible and unique band was Clearlight, conducted by the pianist and keyboarder Cyrille Verdeaux. With their first album, "Clearlight Symphony", released by Virgin in 1975 this band has developed a new conceptual musical universe based around classical romanticism, jazz, experimentation and "psychedelic" atmospheres. The band toured in Europe and with Gong. Cyrille Verdeaux has recorded several solo albums for grand piano and keyboards since, occasionally working with long-time Clearlight member Christian Boule. With Tim Blake and Cyrille Verdeaux on keyboards, guitarist Christian Boule recorded "Photomusik"; a vast collection of spacey rock compositions in a similar vein to Clearlight, if however less-inspired.

As with the German Krautrock scene, the French scene was also born out of reaction to the heavy influence of British / American bands. The French response was an alternative rock scene concerned with experimentation and electronic instruments. Founded by Richard Pinhas, Heldon was at the forefront of this musical direction. The debut album ("Guerilla Electronique", 1974) clearly announces the tone: distorted sustain guitar, tape loops & electronic circular combinations. Heldon is recognized as a major band in the development of the French underground rock scene, providing a unique mix of electronic-punk, pre-industrial music. Solo, Richard Pinhas largely devoted himself to albums for intergalactic synth voyages in the manner of Klaus Schulze and other German electronic pioneers. The major albums of these extended synth works are "Rhizosphere" and "Chronolyse".

The closest comparison with German's cosmic music came from Bernard Xolotl and his dabbling in long "epic" and "atmospheric" synthesizer's experimentations. After years spent in electro-acoustic research, this French musician, who was also a painter and writer pursued his musical career entirely in "ambient", "new age" territories. Recorded in 1983, "Last Wave" is one of his most memorable efforts. Not far from electronic and minimalist territories, Gilbert Artman's Lard Free is a great musical figure of the French underground rock scene. "Hallucinogenic" sounds and pre-industrial rock music reveal the identity of this band. They released their first album in 1973 ("Gilbert Artman's Lard Free"), followed by two others ("I'm Around About Midnight" & "III"). There are connections with others bands such as Heldon and Clearlight: Richard Pinhas from Heldon made his debut in Lard Free on guitar and synth parts ("I'm Around About Midnight", 1975). Gilbert Artman collaborated with Cyrille Verdeaux and Clearlight for the very orchestrated and "psychedelic" soundtrack "Visa de Censure n° X" (1975). Member of the "Musical Electronica Viva" collective for electro-acoustic research, Yvan Coaquette founded the band Spacecraft with John Livengood. From out of this collaboration came "Paradox": a massive electronic performance with guitar and machines.

In a totally different musical direction, the folk rock band Malicorne released a handful of semi-progressive albums in style close to Gryphon and Ougenweide without a sense of medieval / pre-renaissance inspiration. Traditional, Celtic music is mixed with pop ballads sung in French. They released their first self-titled album in 1974. "Almanach" (1976) is a good progressive folk effort, largely filled with acoustic instruments and a discreet addition of keyboard arrangements. Also from the folk scene, Tangerine and their albums "Memoire" & "De L'autre Côté De La Forêt" delivers a beautiful and ethereal acoustic "trip".

In touch with "La Variété" music and "chanson française", mainstream rock bands such as Ange, Atoll, Pulsar marked another step in 70's progressive French music. Very popular, Ange combine an accomplished sense of the lyrical with King Crimson's Mellotron influence and original symphonic rock, acoustic passages. "Le Cimetière des Arlequins" represents their summit. Later, they developed a very theatrical rock where vocals hold the central role and somehow picking up where Peter Gabriel of Genesis had left it. Until very recently (until Descamp's retirement) Ange was an incredible live attraction. They have also inspired many "clone" bands since, such as Mona Lisa.