LA CITÉ DES DIEUX OUBLIÉS

A sadly forgotten band.

Their album was released back in 1978, but Musea thankfully re-released it on CD with, I presume, two bonus tracks. I presume the last two live tracks is bonus tracks.

What we have here is symphonic prog with a lot of kraut, space and eclectic prog added into it. Yes, I am sure the label Eclectic is fitting here. The sound is pompeous and majestic. The instruments are tangents of all kinds (including church organs), violin, guitars, drums and bass. The violins are brilliant throughout.

There are two long songs and one short one. The best song here by far is the hypnotic fifteen minutes long Espoir. A song that reminds me a lot about Eloy, but with some added avant-garde elements. The following eighteen minutes long title track is also very good where it weaves itself through a landscape full of violins and piano. The short song on this album, Adyane, is not particular good.

If you have the LP version of this album without the two bonus tracks, you are the owner of a four stars album. No doubts.

I am the owner of the CD and it has two bonus tracks. Two live tracks with covers of other bands. They are reasonable good, but the audience is a bit too loud and I suspect the label has added some applause just to make the listener believe this is fantastic stuff. It is not and the applause is both crude and annoying. The sound is bad too. Hence, three stars will do for an album well worth checking out. It is a great shame the band gave up after this album. Their only album. Shame.

3.5 stars

Eclectic violin-heavy symphonic instrumental prog played in a heavily baroque and neo- classical style, Acintya has a grand and majestic sound filled with drama and urgency. Although a little more cold and brooding, they have some similar sounds to romantic prog acts like Terpandre, as well as a slight electronic Tangerine Dream influence. It creates a wildly varied and fascinating album definitely worthy of your attention.

`Adyane' has a stomping beat with harsh keyboards, but the main feature is a dancing violin with rough bass murmuring away in the background. About a minute a half in we get a highly original almost reggae diversion with noisy scratching violin squeaks! Very impressed with this, it sounds like nothing else. Nice loopy electric piano and spacey synth solos at the climax.

Crystalline Eloy-like organs and plodding bass throughout the longer `Espoir'. Soon the music turns more electronic with an chilly synth backdrop, very trance-like and dreamy, while a nice bass solo effectively drifts through the atmosphere. The music turns quite folky as a somber piano and weeping violin weave around the fog of synths. The classical piano/dirty violin finale builds a slightly sinister tension before a mysterious and disorientating outro.

The side-long title track has a grand and regal intro, with stop/start percussion and bass timing, epic classical synths/piano and stirring violin. The cold synth melody is rather lovely, but some awful nasty violin in the urgent section that follows lets this part down a little. The sad piano/violin duet that follows is much better, very emotional and reflective. After a heavy drum/organ workout, the piece diverts into a spacey and unsettling Tangerine Dream-like electronic pattern, with a cacophony of echoing, swirling effects, tribal drums and laboured breathing around it. Booming and creeping gothic organ consumes the listener, then falls away into a blissful hum. A Genesis-like bass/drum combo then kicks back in, before storming medieval violin and loopy synths solo through to the end.

The CD reissue has been expanded with two fascinating live pieces. Hopefully some more full concert releases emerge somewhere down the track, as the band shows a highly skilled improvisational talent and confidence not shown as much on the studio album. Although not very well recorded, the murky bootleg sound quality perfectly suits the ghostly and darker elements of the music, and it makes the classical elements sound even more gothic and dramatic. The violin has been replaced by some sporadically used electric guitar, but the main focus is the spectral organ with overpowering and attacking drumming. The bass is surprisingly fluid and lively. Oddly the pops, clicks and skips present in the source recording give the music even more of a haunting quality, like the soundtrack to a nightmare creature scratching at the end of your bed...

The main album is sometimes let down by a wildly inconsistent production. Drums are frequently reduced to a dull rumble, the bass is a muffled crunch, and in some parts the violin sounds a little flat and unpleasant, however I think some listeners will find this adds to the atmosphere of the album. The music itself offers some very interesting ideas, with quite an original style present in both the studio album and the bonus live tracks. The band has an definite energy and unique style, and I feel fans of Neo-classical and darkly dramatic instrumental prog like Shylock and even Ars Nova may find much of interest here.

Three stars...maybe even three and a half!

French Prog band, performing and recording during the second half of the 70's.They were lucky enough to hail from Nancy and have access to the nearby headquarters of one of the few remaining prog-specialized labels, SRC Records.Acintya were keyboardist Philippe De Canck, drummer Bernard Petite, bassist Jean-Louis Tauvel and guitarist/violinst Philippe Clesse, their only album was titled ''La cite des dieux oublies'' and was released in 1978.

Definitely a unique case of a highly eclectic, all instrumental combo, which seemed to split its tastes between Classical, Jazz and Electronic acoustics, so their sole release was an attractive amalgam of synthetic sounds, Classical drives and keyboard- and violin experiments, all performed with a nice prog touch.Two massive instrumental suites and a shorter piece showcase a band with a rich and emphatic sound, propelled by Clesse's changing acoustic and electric violins and the superb keyboard work of De Canck, including a grand organ, poly- and monophonic synths, a Fender and an acoustic piano.Their sound was somewhere between the Space/Symphonic Rock of CLEARLIGHT and PULSAR and the classicism of WAPASSOU, with the cosmic and romantic themes and variations exceling throughout and the mood for complex instrumental interplays shining all the way.The constant use of synthesizers and the Classical-inspired violin work displays some notable links with Electronic Prog and both long pieces contain lovely segments of Fusion, symphonic and even some Folk elements.Prog Rock music, performed like being Classical suites with experimental arrangements and some great interactions.

Musea has reissued the album in both vinyl and CD formats, the second one containing a couple of live pieces from the band's early days back in 1976.''Le revers du miroir'' is the most convincing of the pair, featuring pronounced electric guitars in the place of violin and cosmic keyboards with some Baroque vibes, the sound of organ is particularly excellent.''Le fiacre des enfers'' sounds more chaotic and certainly more psychedelic, like a second-rate CATHARSIS with neurotic guitar soloing and mascular organ waves on a rhythmic pattern, interrupted by Classical interludes.Very raw piece, which could have sounded more attractive under proper recording circumstances.

Underrated pearl of 70's French Prog.Classy execution of Space Rock with a huge Classical background and Fusion touches.Among the best French recordings of the late-70's, highly recommended.