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Zoviet France

Progressive Electronic

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Zoviet France Music for a Spaghetti Western album cover
2.91 | 3 ratings | 1 reviews | 0% 5 stars

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Studio Album, released in 2005

Songs / Tracks Listing

1 Scene 1 7:13
2 Scene 2 30:17
3 Scene 3 4:16
4 Scene 4 9:12

Line-up / Musicians

- Name / guitars
- Name / drums

Releases information

Originally recorded 85-86
First release appeared on cd in 2005

Thanks to dobermensch for the addition
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ZOVIET FRANCE Music for a Spaghetti Western ratings distribution

(3 ratings)
Essential: a masterpiece of progressive rock music(0%)
Excellent addition to any prog rock music collection(0%)
Good, but non-essential (100%)
Collectors/fans only (0%)
Poor. Only for completionists (0%)

ZOVIET FRANCE Music for a Spaghetti Western reviews

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Collaborators/Experts Reviews

Review by Dobermensch
3 stars If ever an album title didn't fit the music within, this surely has to be it. There's nothing Western or spaghetti on display whatsoever.

Steve Reich's 1968 vocal loop experiment 'Come Out' springs to mind whilst listening to the infuriatingly repetitive opener in what is otherwise an excellent album that was strangely sidelined in 1986 and didn't see the light of day until 2005. Perhaps they were ashamed by the embarrassment of riches released during that year? Continuously looped spoken vocals are repeated to distraction. Thankfully things pick up when we hear American political speeches as thrumming strings and bouncy percussion enliven proceedings.

Once again - the longest track on a Zoviet France the album is the best. This time it's at a duration of 30 minutes. A tune appears to play in reverse with sweeping electronic effects until some ghostly stretched male vocals materialise. They're no ordinary vocals of course and are so delayed they sound like keyboards. Plucked percussion thrust through some seriously damaged echo effects then follow, surprisingly it leads to a very laid back and atmospheric track which plods along very slowly in a Brian Eno kind of manner. Layer upon layer of heavily treated vocals are heaped upon one another as alien strings twang and warble in the most inscrutable of manner.

Wobbly back to front bells and shimmering gongs fill up the next few eccentric minutes. It's just a pity that it doesn't flow seamlessly. You can tell it's a patchwork of unreleased material due to the miniscule fragments of silence between parts that join each other. A long, groaning throbbing bass with high pitched floating flute of indeterminate origin recurs for the next 10 minutes or so. Relentless Red Indian wig-wam camp fire drumming is finally broken up by airborne wind instruments during this next mysterious section which repeats to fade.

Warped muddy metallic sounds played in reverse announce the introduction of the final part of 'Music for a Spaghetti Western. David Lynch films spring to mind where evil deep vocals appear and vapourise just as quickly. Extreme stereo is used where plaintive vocals bounce from ear to ear along with bass-like horns. This is a Haunted house of cobwebs in which no living beings reside.

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