POSTAEOLIAN TRAIN ROBBERY

4,5 stars Really!!!

Cos came to be from the ashes of Classroom which had never released an album but they had recorded a few tracks (they are presented as bonus tracks to the first Cos album. Led by Daniel Schell and incorporating Charles Loos and especially angel-voiced Pascale Son, this group will release a bunch of absolute little wonders that every proghead must hear, even more so if you are into Canterbury music. This album was first on the ultra-small Plus label in late 74 in a red and yellow gatefold artwork, with a limited amount of copies, thus making it an ultra-mega-rare vinyl artefact. It would later get another release on EMI with the B&W picture artwork that you probably know from the Musea release.

Right from the opening title track, with Cos introducing themselves to you with all the fresh weirdness that only Belgian groups can, and Son's great wind instruments taking over right after it, you know you are in for a real treat. And plunge you in their world, they do, but I must warn you that there might not be a way out, not that you would ever want to exit this maze after getting trapped into it. Yes, fellow progheads, I said trapped!! Because Cos and I will leave you no chance to escape their kingdom of pure musical exhilaration. Oh, I will take no great part in this feat, but I will bait you enough with this review, that the only thing you will have to do is actually listen to the album and Cos will do the rest themselves. Hey Daniel don't forget the envelope with the unmarked used bills ;-))) I just wish!!!

Cocalnut is a slow developer but behind Pascale Son's moanings (and then superb scattings) the group is building a solid foundation with Loos's piano taking the spotlight from the background, and Schell pulling an excellent solo, but this is Son's moments. Her ability to use her voice as an instrument is simply astounding ranging from Wyatt to Kate Bush to operatic influences or even more like Barb Gaskin or Amanda Parsons in National Health (but preceding them by three or four years). Solo Vander-like drumming starts the third track, but this is only a starter as a Ratledge-like piano and a solid bass line are one the menu. Son's scatting is again at the centre of the group's success.

The funkier and jazzy Populi is a welcome interlude being a bit upbeat and tighter. Halucal is a short instrumental (even Pascale's voice needs a rest although she contributes winds) and is build on the Fender Rhodes. Coloc is a great closer with Loos in a lenghty solo, slowly being joined by a fuzzy bass (Hugh Hopper is not far) and then Son's superb voice meandering between clouds, sun and lightning and again Loos's fuzzy organs (sometimes Caravan meeting Mahavishnu or even the mystic Caravanserai) >>>> Awesome AND grandiose!!!!

Classroom's demo tracks (recorded for a possible CBS contract) are included as bonus tracks are just as worthy as the album and make this record an excellent value. The main difference (outside a very different line-up and a very present vibraphone) is that Pascale vocals have actually lyrics, and her singing-words are just as impressive as her scatting. La Partie D'Echecs is hilarious as she tells us that the white pawn of the chess game is lifting her dress and the vile bishop slayed her, the whole thing sung at such breakneck speed that one would've wondered if their 33 RPM was not spinning on 45 RPM (had this been ever released at the time of course). There are also some subtle Zeuhl influences in their music as they shared (as Classroom) stages with Placebo, Univers Zero, Zao and Magma. Sur Deux is a great instrumental concentrating on vibes and guitars. Achille is a rather lenghty but impressive exercise for Pascale and the vibraphone to make love to each other sonically.

Musea made a great job of reconstructing the group's history (if you'll forget that Karbok track omission) and with this album hold one of their greater achievements, the preservation of Cos' early works. However, it's just too bad that they chose to reissue the album without the original red and yellow artwork on the Plus label. This is truly of one those albums that define Belgian prog and it should belong in everyone's collection alongside Hatfield.

I really have to admit, miss Pascale Son's voice throws me off. I didn't even get past the first track the first few times I attempted to listen to COS. BUT, I did eventually force myself to give these guys a chance and what followed was a lot of great instrumental fusion/canterbury styled jams with Pascale's great oboe work included. This cd is marred signifigantly by her vocals however and I have yet to get use to them. Maybe I just don't get it, but on the other hand, I shouldn't have to, all it sounds like is babble - No other vocalists come to mind when thinking of her for me but I suppose it may remind some people of backing vocals to other canterbury bands. Some juicy bass anchors the music with beautiful flute from time to time, interesting percussion and decent guitar work. Overall, a 3.25 effort from COS.

When we thing about the Canterbury scene, is normal to imagine Britsh bands playing the sound. To my surprise, i discovery this band from Belgium that did it the same tipe of sound. Cos is realy a band who overcome my expectatives about an sound that is named of canterbury scene and is not from england. I belive that is a masterpiece of progressive music, and i recomend this album to all of those (who like me) admired the canterbury scenne.

It is necessary to recognize the music character that this band did in the item of the music of Belgium as a band with originality very much. The music character of this Cos to contribute to the item of the music of Belgium very much as well as Univers Zero and Aksak Maboul splendidly absorbs the element that various musicians did and is expressed.

Some parts might be accompanied when thinking about the element in close relation to the music character that they do. It is partial as they declare of the influence from Magma and Zao. However, they might reflect the part in the tune well and be expressing music by an original methodology. Or, the creation of original music in addition to making the sound that looks like in the band from Canterbury from which it is represented and the expression of men who interpret it will accompany the flow completely established.

The music character that member's Daniel Schell creates occupies the ratio very much in this 1st album of them. Those parts show the flow to which the band evolves after this band is exactly very established. And, the part where the important factor is given to this band will include the song of Pascale Son. She performs Oboe by the tune. However, the melody of her unique voice and the song expressed in the acute angle might be the parts for this band. It is necessary to evaluate Music whom this Cos did as a set that receives the flow from "Classroom" that exists as an antecedent of this band and expresses indeed unique music as one field. The avant-garde part and the sense of their POP created an elegant, strange music while absorbing the sound in Canterbury and the part of Zeuhl well. The creativity of Daniel Schell that is called an unusual talent has been remarkably exactly expressed by this band. A lot of overwhelming composition power and the expression of the band might be expressed in an initial work though the band revolutionizes little by little every time the work is announced. The member's appointment to express them concretely and introduction of musical instruments. Or, to express the music character that the band does, the calculated arrangement of the tune and the introduction of the wind instrument are expressed enough attended with a necessary element. Part of POP in close relation to surreal sense. And, a completely high-quality tune was offered and the performances of men who had done an original interpretation for music were continued.

As for "Postaeolian Train Robbery", a flute that is unified to the self introduction of the band and made anxious and a piano sound have established the directionality of the band. The tune increases the dash feeling from the repeated theme to a steady rhythm attended with the sound of the guitar. As for their creativity and arrangement, originality might be very strong.

"Cocalnut" twines from the part of the sound that flows quietly the scat and progresses. An acute angle scat explodes attended with the response and motion. The piano and the scat give the dash feeling to the rhythm with Groove. The voice of Pascale Son might be exactly a part of Cos. The tune reaches the peak while continuing the dash feeling attended with the sound of the shining keyboard. The progress of Chord might be perfect. The arrangement that adds the dash feeling of good Rock for elements of a few Zeuhl might be splendid.

"Amafam" shifts from Solo of the drum to the flow of the march. Unison of flute and scat with mysterious melody. Melody of continued keyboard. POP of the melody and the avant-garde part merge completely in the tune though atmosphere has a little experimental part.

"Populi" is a tune where the sense and the originality of POP that they think about shine. The flow like the session in addition to the keyboard and Groove of the rhythm might be included. And, an acute angle scat of Pascale Son consistently continues flowing. The composition in which the rhythm of six twines has succeeded, too.

As for "Halucal", the theme with the flute and the keyboard feature. A good dash feeling of Rock is continued and Solo of the keyboard pulls it. To expand the width of the tune, Solo of Bass is taken an active part though the song doesn't appear.

"Coloc" shifts to the composition with quiet power while continuing a glossy piano sound. A consistent scat has established the individuality of the band. An experimental flow in close relation to the sound of the guitar processed by the effect might be reminiscent of an element of Zeuhl and initial Soft Machine. Twining of Solo and the scat of an intense guitar shows the directionality of the band enough.

"La Partie D'echecs" is twines round the demiquaver a fast scat and a unique tune including an intermittent hit. The part and the composition in which the flow of Jazz Rock was introduced might already have been established. The idea that Classroom did has been succeeded enough to Cos.

"Sur Deux" The sound of the brass instrument in close relation to the development of a complex melody is a feature. The line of Bass pulls the tune and advances including the part of Jazz Rock. It listens to the part that the element of the session also took while continuing the dash feeling.

As for "Achille", the composition with quiet flow in the song with the anacatesthesia feature. The performance to take the element of POP and the part of surreal to the avant-garde might already have carried out the function as Classroom. The originality of the sense is very strong. The flow of a complex rhythm and the melody in close relation to the scat has been established. The tune shifts to an experimental flow further with the avant-garde and processes the space well. The part of the song in close relation to the flow of the drum intermittently demonstrates the part of individuality from the part where the melody was excluded. The material because of the connection to this band exactly might already become complete. An enough idea is abundantly blocked in the work of Cos completely developed as a function of the band while groping for directionality.

The unison of a mysterious melody and the song pulls the tune to "L'admirable Amas Cellulaire Orange". The obbligati of the guitar also contributes to the tune. The band accomplishes certain evolution in the flow that announces the work from this album one after another though the avant-garde part of the technology, the sense, and the idea of the performance is strong.

This album that completely drew out individuality in the band and the musician who existed in Belgium might have understood the interpretation to the culture and music. And, the flow of this album evolves further and reaches the peak by "Viva Boma" of 2nd album.

COS from Belgium play a blend of Canterbry / Zeuhl that made me think of both MAGMA and ZAO. Before they were known as COS they were called CLASSROOM and played in concerts with MAGMA. Daniel Schell the band leader became friends with Daniel Denis (UNIVERS ZERO) and after they changed their name to COS they also played with ZAO. The singer of COS is Pascale Son, a trained singer who also plays guitar and aboe. This lady can sing folks. And her inspiration on this album seems to be Mauricia Platon who sang on ZAO's debut "Z=7L". So her vocals and style might not be for everyone. I kept thinking of MAGMA's female singers and of course Mauricia Platon with her wordless vocal acrobatics. The music by the way is fantastic !

"Postaeolian Train Robbery" opens with piano and drums then this guy comes in and announces the band members one by one. When he's done the music turns more serious. This is an instrumental track and a great opener. "Cocalnut" opens with faint sounds before it kicks in around a minute. Pascale bursts out singing reminding me of MAGMA then screams. The bass, piano and drums are excellent. Pascale then does her Mauricia impression and she blows me away with those vocal gymnastics. Guitar 4 minutes in. Amazing performance. "Amafam" opens with drums as piano joins in. Vocals before 1 1/2 minutes. Nice chunky bass here too. This all sounds so good. Flute helps out as well. I like the piano melodies after 3 minutes with bass and drums. Vocals return before 6 1/2 minutes. "Populi" is catchy with vocals. The bass impresses but check out the vocals ! Guitar before 1 1/2 minutes followed by tasteful piano as bass and drums continue. Check out the piano, bass, drums and vocals late as the tempo picks up. "Halucal" opens with bass flute, then piano, bass and cymbals join in. It's all so incredible.

"Coloc" opens with piano as cymbals then guitar joins in. Vocals before 2 1/2 minutes. Great guitar performance 4 minutes in. Outstanding section. Vocals come and go. It's all very intricate after 7 minutes. The four bonus tracks are important because they are CLASSROOM recorded tracks. They never released an album under this band name so it gives us a glimpse into their earlier sound. You definetly know it's the same band, not too different from the COS debut really, more jazzy. Pascale sings in French on the vocal tracks here. "La Partie D'echecs" features Pascale singing at a fast pace as electric piano then what sounds like upright bass comes in. The drumming and sound is quite jazzy. "Sur Deux" is an instrumental with more prominant bass along with guitar and vibes standing out. "Achilie" opens with reserved vocals, bass, vibes and cymbals. It's laid back but picks up before a minute. Another jazzy tune. A calm with drums and vocals before 4 minutes. Kicks back in after 6 minutes. Intricate stuff including the guitar. "L'admirable Amas Cellulaire Orange" is the short final tune with vibes, vocals and bass leading.

The five stars are for the "Postaeolian Train Robbery" album, although the CLASSROOM tracks are very good too.

A remarkably confident debut album from Cos, displaying a Canterbury sound strongly influenced by the whimsical and experimental spirits of Frank Zappa's Uncle Meat-era material and the early Soft Machine albums, and also displaying a certain tendency towards lighter, airy material of the sort Hatfield and the North were dabbling with at the time. Like the Hatfields, Zappa, and Robert Wyatt, the band clearly believe in the potential of the human voice as a musical instrument, and so vocalist Pascale Son's exceptional talents are put to fine use. Her command of her vocal abilities is impressive, as is the wisdom of her decision not to mimic the usual Wyatt-inspired aaah-aaah-aaahs of typical Canterbury fare but to plunge into her own crazed tangent. Very much worth a listen for Canterbury fans.

AS I was completing my post for ATOMICRIMSONRUSH's "Best of Sub-genres" list I realized that I've been remiss in posting a review for this, my favorite Canterbury album of all-time. I do have to admit that I've only known of COS for the past year or so, and that the CD version I have of Postaeolian Train Robbery contains the four CLASSROOM songs that pre-date the official formation of COS, AND that those four songs definitely add to the power of PTR, IMO. Were I to rate this album based solely on the six songs that came on the original vinyl I might not be so keen to proclaim this the best or my favorite Canterbury album.

1. "Postaeolian Train Robbery" (4:14) is a perfect introduction of the band (though why Pascale's voice is mixed so far in the background I'm not sure). (9/10)

2. "Cocalnut" (7:20) showcases the amazing talents of keyboardist, Charles Loos, as well as the incredible voice of Pascale Son. Also, the fast pace allows the rhythm section to show off their tightness. (9/10)

3. "Amafam" ((8:24)) starts off showing off the talents of drummer Robert Dartsch. Then flutist Daniel Schell and Pascale share lead melody scats--which then amazingly transfer to that of Pascale mimicking/duelling with percussionist Steve Leduc. She is amazing! Reminds me of the Indian raga voice scats on SHAKTI's albums. Unfortunately, the drums and bass are relegated to a very repetitive two-note/two chord rhythm so that the others can solo-- including a rather long one by the electric keyboards. Poor bass player! The final minute allows the drummer to go out just as he came in: showing off. Amazing talent. Not the greatest song. (7/10)

4. "Populi" (3:31) begins with a bouncy clavinet (?) before the band and Pascale join in--this time with actual lyrics! (For a while!) Flutist Daniel Schell takes a turn on electric guitar as Pascal's amazing chicken-like scatting bridges solos from guitar, electric piano, and bass. (8/10)

5. "Halucal" (3:51) uses a flute's arpeggios to establish a kind of standard jazz chord progression! The band joins in with wonderful bass, keys, and drums throughout. Keyboard work reminds me of CHICK COREA. Bass player Alain Goutier is really allowed to strut his stuff on this one. (8/10)

6. "Coloc" (9:44) begins with a piano and a background laugh from Pascale. Then the piano takes over (with a little support from the drummer's cymbol play and, later, chorded bass play). Again I am reminded of CHICK COREA here--The Mad Hatter suite (which came later, in 1978). Then at 2:20 Pascale takes over. Wordless vocal acrobatics with one of the nimblest, jazziest voices I've ever heard. Her "instrument," in fact, is probably more expressive and versatile than 99% of the jazz instruments I've ever heard (including that of famed jazz vocalist BOBBY McFERRIN). Daniel Schell performs a few admirable somewhat JOHN McLAUGHLIN-like soli, though his mastery of both finger speed and the volume pedal is in the future. (8/10)

Again, were I rating this album on these first six songs alone, I would not put it so high. But, let's continue.

7. CLASSROOM's "La partie (d'Echecs)" (2:39) is breathtaking, stunning, stupefying. It defies all previous conceptions for possibilities of the human voice in song. Her precision with pronounciation is unbelievable. And this one has lyrics. Throughout! One of the most amazing songs I've ever heard. Ever. (10/10)

8. CLASSROOM's "Sur deux" (4:32) showcases a four piece instrumental jazz combo in which xylophone and guitar work with and off of one another and a very fast-moving bass gets a vast amount of show-time. No Pascale. A very good lounge jazz song with some very nice melodies. (9/10)

9. "Achille" (10:05) starts out displaying a tenderer side of the band--of Pascal. Long sustained notes replace the speed we're becoming used to. But as the one minute mark approaches the band kicks into a kind of BURT BACHARACH Latin-influenced rhythm and structure. Before the end of the second minute things slow down and most instrumental support drops out while Pascale stretches out a little. Then around 2:20 the band reintegrates into a fairly conssitent groove for over a minute while Pascale sings. At 3:40 everybody breaks but Pascale and the drummer. The two play, he with his toms and cymbols while Pascale plays with Achille's name and, a little later, a particular sentence, "Où est la fin de cette forêt?" The guitar solo in the ninth minute is the song's only weak spot--though it is not bad for a more traditional European jazz guitar solo. A very entertaining and yet surprisingly serious song. More like an exercise with time, form and structure. And a test to see if Pascale can keep up with . . . anybody! (9/10)

10. "L'admirable amas cellulaire orangé" (2:13) employs the same four-piece jazz combo to support another masterful performance by Pascale. She is a veritable wonder of musicality. (10/10)

This superb debut album of COS can be called as one of important landmarks upon the Belgian Canterbury Scene. Pascale's colourful, delightful voices supported upon the sound grandeur created by other musicians of genius give us an invitation to an enjoyable madness party, and (not many reviewers can have a positive appreciation for their roots though) also the last four "old" songs exert energetic melody magnification. Very interesting their roots "The CLASSROOM" had already had definite fantasia, and the fantasia might have anticipated the new era named COS I imagine.

A reflective combination of Daniel's loud and pleasant flute vibes and Charles' quiet piano stardusts, following to an ill-matched introduction phrase, is obviously simple but remarkably powerful like Soft Machine, the vanguard in Canterbury Scene. And for me some acidity can be heard via the atmosphere under their freaky sound circumstance. Pascale sings as if she would read poetry, cry upon a curtain call, or chuckle like a cute kid ... actually her voices are not only theatrical but also charismatic. Jaunty and springy steps produced by the rhythm party (Robert, Steve, and Alain) should tighten and strengthen their quirky melody lines, which form the sound basis.

It's quite impressive and immersive they have created such an originality via intensive simplicity (a good example is Melanie's "Brand New Key" if I'm correct). So let me say one of my favourite tracks is the last "L'Admirable Amas Cellulaire Orange" almost only with Pascale's pretty voices and xylophone footsteps. Simple is great indeed.

This is an extraordinary album! "Postaeolian train robbery" is one of the most interesting albums that I've ever heard. It goes from the Canterbury Scene classic sound to some weird fusion/acid Jazz and very strange and powerful riffs that make a very unique Prog Rock album. Pascale Son's voice is beautiful; reminds me to Gilli Smyth at some moments and Stella Vander in others.

I don't understand why is COS considered as a Canterbury Scene band: their sound is much more like the classic RIO/Avant-Prog music from bands like Samla Mammas Manna, Henry Cow or even Zeuhl bands like Magma or Zao. The drums and the bass are very disciplined in some moments but also it has very free lines. This album is a whole piece of art, amazing from the start until the end.

Complex album, but very enjoyable; this is one of those albums that make Prog Rock so interesting.

Five stars!!

What a wonderful surprise. I never have heard of this band, nor did I realize there are Belgian progrockbands in the seventies. I absolutely adore this music. It has a jazzfusion, krautrock and a canterbury sound. The (wordless) vocals are perfect, and the instrumentation and production superb.

It is less sophisticated as Focus and Supersister but playful enough to keep me happy. The songs have great tempos and I cannot compare this music to anything I have heard before. Sometimes it has a kind of brazilian feel to it (maybe the vocals and flute).

Anyhow, great psychedelic canterburyesque progrock from Belgium that can please any fan of Focus, Supersister, Caravan and Kraan. Highly recommended!

COS was one of Belgium's most unique progressive rock bands having formed out of the prior works of a previous band named Classroom which was founded by guitarist / flautist Daniel Schellekens or Daniel Schell for short. Having been raised in Brussels in artistic circles, the young musician took an interest in the fertile possibilities that took traditional French chanson and other cultural ethnic music and adapted it to the psychedelic and progressive rock forms that were emerging from the European scenes at the turn of the decade from the 60s to the 70s. The band known as Classroom that existed from 1968 to 1974 sowed the seeds of what would become COS (rhymes with "dose"), a name that was meant to represent a word in many languages but most importantly included three letters that were in the name Classroom.

While still Classroom, the band developed the sound that would eventually be heard on the first COS album POSTAELOLIAN TRAIN ROBBERY which took a lot of influences from the zeuhl scene like Magma but especially Zao with whom the band played with numerous times. The band went through many lineup changes as Classroom and as COS but the main lineup of Schell on guitars and flute and vocalist Pascale De Trazegnies who would become better known as Pascale Son as well as Schell's wife and bassist Alain Goutier. For this debut album the band also included Charles Loos on keyboards and piano, Robert Dartsch on drums and a second percussionist with Steve Leduc. Many guest musicians were included to record many of the Classroom tracks later on that would be included as bonus tracks on later issues of this album.

There are actually two versions of POSTAELOLIAN TRAIN ROBBERY (the name refers to a post-version of the musical scale). The first was released in 1974 and sports the rather flashy yellow and red striped album cover. This version consisted of seven tracks including the funk rock based "Karbok" that only appeared on the first vinyl release. The album saw no reissues until Musea Records re-released the album on CD in 1990. This newer version nixed "Karbok" and instead added four bonus tracks from the band when they were still Classroom and this is the album i personally own and recommend since the tracks from Classroom are every bit as interesting as those from the COS lineup. Really the only difference is the fact that as COS, Pascale scats nonsensical meaningless vocal utterances where her voice acts as extra instrument and as Classroom, the French language is used.

POSTAELOLIAN TRAIN ROBBERY gets off to a festive start with a cheery piano roll and Alan Stoop introducing the band members like a circus barker and after all introductions are completed the music turns darker and starts to generate a Canterbury tinged zeuhl rhythmic drive. COS was unique in that the band created an idiosyncratic fusion of the Zao inspired female vocal led zeuhl styles along with touches of avant-prog a la the Belgian scene and touches of jazzy rock right out of the Canterbury Scene courtesy of bands like Caravan, Gilgamesh and Hatfield & The North although those sounds would take on a more significant role on the band's sophomore release "Viva Boma." On POSTAELOLIAN TRAIN ROBBERY the tracks mostly exist in a rhythmic world of zeuhl with jazz-rock and progressive rock filling in the cracks. Each track is skillfully composed and technically charged with excellent musicianship cranking out highly complex progressive chops however most engaging of all are the phenomenal vocal talents of Pascale Son whose playful vocal styles are magnetic. She also contributes oboe.

Apart from the original track "Karbok" which sounds out of sync with the other tracks and rightfully removed on future releases, the seven tracks that appear on the newer releases are all phenomenal in their own way. POSTAELOLIAN TRAIN ROBBERY comes off somewhat as a jamming session only constructed with extremely complex passages that allow progressive jazzy chord progressions to whiz up and down the scales which allows Pascale Son to hit some seriously high notes. She is on full diva mode on this one. The other star of the show is keyboardist Charles Loos who brings the Canterbury sounds to the mix and delivers the finesse and technical wizardry on par with the greats of the day like Mike Ratledge, Dave Sinclair or Supersister's Robert Jan Stips. Add the sensual flute sounds, a chilled out percussive drive and a mesmerizing bass groove and you basically get the gist of what POSTAELOLIAN TRAIN ROBBERY has to offer.

COS was one of Belgium's more eccentric bands having released five albums from 1974-84 and each sounding completely different. While all the aforementioned ingredients appeared on many of the albums, the recipes were quite different. While most of POSTAELOLIAN TRAIN ROBBERY is dedicated to swanky vocal led jazz-rock numbers that take license to create some serious jamming improvisation, the finale "Coloc," the longest of the album just shy of 10 minutes is the true progressive behemoth of the bunch with highly complex piano workouts, mood enhancing organ antics and hairpin turns of angularity and interesting progressive workouts. COS' debut is a real gem of 70s Belgian prog which displays one of the rare examples of a band outside of England having been influenced by the Canterbury Scene (others include France's Moving Gelatine Plates, the Dutch band Supersister and Italy's Picchio dal Pozzo). This debut is interesting in that sometimes it eschews the Canterbury sounds and focuses on jazz-rock and zeuhl but the final track provides a glimpse into the next phase heard on "Viva Boma." Geez, even the older tracks from Classroom are excellent on this one! Highly recommended.