TRIP IN THE CENTER HEAD

The abbreviated career of Space Art reached its apogee on the band's second album, released at the high-water mark of analog synth-rock in 1977. And it holds together remarkably well after more than three decades, thanks in part to an unbeatable combination of vintage synthesizers, aggressive drumming, and strictly instrumental arrangements.

The trademark image of the hazmat suit on the LP cover, reflecting what looks like a Maxfield Parrish landscape in its visor, aptly illustrates the opposing poles of the Space Art aesthetic: splashy and romantic, but more down-to-earth than the band's name would suggest. The music here is more deliberate than its looser, self-titled predecessor (released earlier the same year), sounding at times not unlike backing tracks for songs before any vocals were added. But the material is stronger, and played with more confidence, to a point approaching proto-1980s arena-rock bombast, in cuts like "Odyssey" and "Hollywood Flanger". Every track is a model in musical euphony, but all of them are mere warm-ups to the epic album closer "Psychosomatique", which ebbs and flows over eleven tense minutes toward a perfectly timed, Panavision climax of considerable sonic drama.

With a little more exposure the Space Art duo could have made a bigger commercial splash, instead of being quietly absorbed into the touring band of Jean Michel Jarre. The superstar synthesist was an obvious kindred spirit and role model, and the first two Space Art efforts actually compare favorably to Jarre's career zenith "Oxygene" and "Equinox" albums. Today, Space Art is remembered (if at all) as a cult favorite of synth-rock connoisseurs with long memories. They were a late addition to the ProgArchive database, and are likewise long overdue for a belated re-evaluation.

I first saw this album cover at my brother-in-laws place many years ago. He owned the vinyl, and I was drawn to their name, as well as that cover. I would end up getting their debut first, and again the cover art is so well done on that one as well. SPACE ART were a duo from France of drums and electronics, and those first two influential albums I just mentioned, were both released in 1977.

Many feel they were influenced by Jean-Michael Jarre's "Oxygene" from 1976, and he is also from France. The SPACE ART duo would be invited by Jarre to play in China as his backing band, which they did. I personally feel SPACE ART are far better than Jarre, in fact having Jarre under Prog-Related proves that(haha). I'm just not big on "Oxygene" or "Equinoxe", two of Jarre's more praised records.

And while I much prefer SPACE ART, I also am not blown away by any means by this group. But those first two albums are really solid electronic recordings, with real drums which I appreciate. We get about a 36 minute album over seven tracks. This album doesn't start that well for my tastes with those first two tracks bringing to mind HARMONIA and NEU! with the high pitched synths and sounds. Too catchy. And while I do have an appreciation for those two legendary bands, it's that part of their music that just doesn't do a lot for me.

So that third song "Eye Shade" is where we really get to the good stuff. Almost 7 minutes long and a top three track for me. And the thing that stands out is the atmosphere that can be overwhelming. It changes stripes often though early. But from 3 1/2 minutes to the end we get slow beats and a lot of atmosphere. Good tune! "Watch It" is sort of hit and miss even though it's only 3 minutes long. I like the rain of electronics later, but also the way it starts with that explosion of sounds.

"L'opsession D'archibald" is my favourite. Lots of electronic beats and pulses, but it changes a lot but with repeated sounds to tie it all together. This one is a ride. A lot of energy on "Hollywood Flanger" while it turns beautiful late. The closer "Psychosomatic" is a top three and the longest at almost 11 minutes. Some melancholy for a change here. Sounds like mellotron-flute and sparse sounds contributing to that sad sound. Experimental sounds arrive out of space after 1 1/2 minutes, but they are really brief. It's that majestic soundscape that follows that makes this track standout. It settles some after 4 minutes before picking up some around 6 minutes with more passion. Best part though is 8 minutes in with those spacey sounds.

I prefer the debut slightly, but these two 1977 releases are really companion albums and the best of what they did. Glad to own them, but I doubt they'll make my "best of" electronic list. We'll see. Jean-Michael Jarre isn't even in the area code as far as that goes.