PASCAL COMELADE

Pascal Comelade is one of those musicians that you hear about, that you want to check out, and then for some reason, you never do. He is placed in the progressive electronic category, and that is basically now he started out. But since 1975, when he released his first album, he has since become more acoustic while becoming more experimental and art-ish. He comes from France, but has lived in several countries throughout Europe, and his music is affected by these different countries. His music is made up of whatever instrument that he wants, including toy instruments. He has worked with a lot of different artists on many of his albums, which he has released a good number of. A lot of what he does are strange covers of songs that are both popular and obscure.

In 2000, he released this short album (more like an EP) of covers named after the lead track "September Song". He even uses a very special guest, a name most progressive lovers will recognize to sing the title track. Robert Wyatt donates his vocals to Comelade's version of "September Song". The song is simple and whimsical, with simple organ and accordion accompaniment with Wyatt's vulnerable vocals. A xylophone-like instrument follows the melody as Wyatt sings. A song that typically drips of want and yearning turns into a more reflective, yet lighthearted sound, but still reflects the simplicity of it all. The last part of the track turns to a repeat of the melody done by a trumpet with the bass synth providing the foundation before returning to vocals before ending.

This simplicity continues with and instrumental rendition of Robert Wyatt's "Signed Curtain" played with a regular piano and a multi-tracked toy piano. "Come Prima" consists of many toy instruments backed by synth and piano, and retains the nostaligic European sound with some accordion thown in. It gets stranger as it goes on, with some kooky instrumentation that utilizes tonal squeaky toys and mandolins among other things. "The Sheik of Araby" has an organ providing a reggae-like beat as more toy piano's and such lead the melody, later joined by a squeaky, slightly off tune, toy flute. It's quite nice how the toys tend to be just a tad out of tune with each other, which only proves they are real toys and not effects.

"24 Mila Bacci" uses xylophone and harmonica backed by piano, with some other interesting items to play this famous Italian song. The song is quite off kilter on purpose, as the different cheap instruments contrast with each other. "Knocking on Heaven's Door" covers the famous Bob Dylan song, the melody played by some twangy child's instrument. This short 20 minute outing ends with "L'Italiano", the melody played by a Moog and automatic, hopping percussion that gives it the Italian lilt. It's quite a charming little ditty.

This music is all in fun, but it is quite a treat to hear it all done by such unconventional means, mostly, in this case, by every conceivable toy instrument, or something similarly cheap, but done with such precision and careful orchestration. It's all quite a bit of fun, sure, but it is also quite innovative and brilliant, and even though it is mostly simple, if you break all of the sounds down, it is also quite complex. Even the purposeful dissonance that exists between the instruments works to make it all whimsically charming. The only thing that is flat out synthesized is the backgrounds that support these real-faux instruments. This is definitely different, yet quite appealing, and most everyone will enjoy this short little album of kooky, yet brilliant covers.

JUDGE THIS "BOOK" BY ITS COVER!!

I myself chose it second (Art covers) in my fortunate findings of Pascal Comelade's albums. (Which some unfortunately are not included in PA ,so I will "upload" the not included yet findings eventually in this page).

Anyway, "Métode de Rocanrol"- 2008, was already included, and it is exactly as its art cover. Fun, wicked fun, in fact. Some reviewer mentioned the subtle eerie Residents feeling, yes that and much more. If I can suggest as referentials only, because it has its own sound and proposal , I will mention:

Samla's humour , Yello's ellegance and arrogant unpretentiousness, Roxy Music's irreverent Art /Music concept (music-wise), Zappa's silly genius side, Etron Fou Leloublan's intentionally undercovered mastering of their instruments and to close down with Tuxedomoon's "less is more and raw is best" songwriting tendencies. And above and best of all, flawless compositions and creatively crafted details and arrangements. Close to genius, low key, but genial and clean sheer fun!

What else? Of course, this is NOT a Prog-Electronics project as such and not close. If YELLO or TUXEDOMOON were ever included in PA, they will be in the same category, along with Roxy by the way.

****4 PA stars. Have fun!!

No! Do not worry, this is not Electronic Prog. In fact it is close to any other Prog sub-genre, less the fast Metal Rock ones.

Visiting the preferences of another fellow PA reviewer, I came across with this musician, Pascal Comelade (french, multi-intrumentalist, composer). I would not judge why he was stuck in such a neglected category (by the "majority" of audiophiles, not me and others, or the "minority" in a politically correct language).

The amount of electronics used in this remarkable multi-oriented work, is the same as any average prog/rock band. In fact the multitude of instruments (really a lot, not at the same time, of course!) leans towards the acoustic ones. The songwriting alone is completely eclectic or crossover (depending where you are standing). The richness of each performance, competes with one another.

Expect detailed compositions which can be as simple as attractive. Expect each song to go a different route, without exceeding emphasis or "musicianship", to prove nothing to no one. Expect fun, introspection, a mature yet unpretentious musical language and a friendly musical environment.

As far as "routes" go, expect instrumental Rock, Blues, Jazz, (native) Folk, RiO (SAMLA like not UZ), and the progressive imagination in the composition of each highly entertaining song. But really do not expect Prog/Electronics as such!....( In fact we could "exchange" Pascal for Jean Michel, wherever he ended up, no diplomatic conflict at all, just kidding!).

****4 "multi-oriented" PA stars. A keeper!

— First review of this album —

Outstanding electronics and other instruments project. These guys (Pascal Comelade & Pinhas) have worked together in the past but mainly in the 70s more in a sequencer type music which eventually became more of the style of Pinhas and not at all of Pascal's. Pascal is more of a mechanical toys sound and quirky almost carnival / circus music, common in many french RIO / avant bands. Although Pascal Comelade's name is first than Pinhas i feel this is much more the sound of Pinhas. Comelades (and other musicians) is felt but tamely when compared to the wall of electronics and distorted guitars Pinhas belches out. Eight long pieces with great melodies yet nothing complex in terms of changes in the structure of the pieces. But VERY complex in terms of synth, sequencers and guitars textures meshing and mixing in and out of the whole sonic spectrum. Mind blowing for sure! Recommended!

Hovering beauty

Continuing on the prog electronic route, I thought I'd say a few words about Pascal Comelade. This guy has travelled the musical worlds in search of everything from avant guarde noises and spectral cave atmospheres to the laid back floating castle soundtracks that would have even the most grumpy of panthers lulling off to a sedate and relaxing dream-world.

Fluence is his first album, and even if the information is pretty scarce concerning who played what - the strange and levitating feel of this album almost certainly eradicates any further need for facts. I don't need anybody to tell me who's playing castanets on the second cut here - that's for damn sure!

Now coming off my recent Ragnar Grippe exploration - talking about originality in music, Comelade is perhaps the perfect successor in my line of reviewing, as he together with Igor Wakhevitch and Richard Pinhas spearheaded the French evolution of the progressive electronic movement. Sure it started in Germany with ominous slow space excursions, which furthermore fuelled the great big avant rock scene happening that we now call Krautrock(Which incidentally is one of the biggest reasons behind the electronic genre being here on PA methinks. It played a huge part in much of the rock experimentation happening all over Europe - as most of these guys were true pioneers on these fridge like instruments that most other musicians didn't know the first thing about - let alone how to get any sort of noise out of.), but as the sounds of the moog and synth were adapted into common practice all over Europe, the genre suddenly unfolded itself to be much wider and more complex than what most people think it was and is.

The first cut here called A few reasons to stay, a few reasons to split is one of the most eerie pieces of music I've heard in a long while. Consisting of these floating levitating organs that hover slowly over the ground - like a majestic bird of prey caught in a glitch in the matrix - forever multiplying, rotating, going back to the point where they started, - they act as something airy and intangible. Eerie, wafting organ sculptures that to some people may come off sounding rather monotonous, but once caught in the upwinds of these electronic tailwinds, something just happens, and I personally feel entranced and hypnotized to the point where I loose myself - forget my name and just float away like a small leaf in a draft. I always think of Franco Battiato's strange micro tonal Sequenze e frequenze, whenever I listen to this. Joined at the hip, France and Italy are - even if they aren't aware of it...

Then comes the middle track which acts as something of a clown. A sonic comedian suddenly popping up between two giants - washing out the distinct taste of birds and winds in your mouth - now ready for a whole new thing, with clear and refreshed taste buds. It is no more than a twee Spanish tango, but it fulfils its purpose - getting you ready for the dramatic ending.

On the last track, we are treated to the delicate sounds of Richard Pinhas - kindly dropping by to fiddle around with his guitar. Funny thing is, that most of you people out there who have listened to this man play guitar, you're probably not going to describe his talents and way of approaching said instrument as delicate. I know I wouldn't. This is why I was completely caught off guard by the overt tranquillity of this piece. Named Schizo - lasting about 20 minutes of your life, this one safely takes you up, cradles you, rocks you back and forth with the gentle touch of a 100 mothers. The closest thing I can get to explaining the sound and feel of this thing, is stating just how much I'm reminded of the love scene in Zabriskie Point - y'know the Antonioni movie, where two youngsters roam around in the desert to the smooth and sensuous sounds of Jerry Garcia's guitar. If you know this scene, then imagine the music being incorporated into these light and beautiful electronic textures, and you effectively get Schizo. I love this track. I love it I love it I love it!!!!!

Recommended not only to the prog electronic nuts out there, but also to fans of gentle experimenting music, that seems to be the safest way for us humans to fly with all the grace and beauty of a soaring bird. This is beautiful stuff, and had it not been cluttered up by the small clown in the middle, it would have gained a masterpiece status from yours truly. As it is 4.5 stars.

— First review of this album —

Perfectly Seine

By 1998, France's Pascal Comelade was well into his stride, and releasing albums as if they were editions of a regular magazine. Indeed, the magazine comparison is also valid on the basis that his albums tend to follow a similar pattern with only subtle variances in style. His first album of this year was "L'argot Du Bruit"; I believe a rough translation is "The jargon of noise".

Comelade's listing on this site under the wing of "Progressive electronic" is somewhat misleading, as his albums are most certainly not synthesiser-fests or keyboards infested virtuoso performances. The main sounds here, and indeed on many of Comelade's albums are French style accordions, Spanish brass and a variety children's instruments. The tracks tend to be short, sometimes very short, with only the occasional indulgence into anything over 4 minutes. The compositions are simple, using repetition a lot, their simplicity being emphasised by the instruments used and the basic arrangements.

The opening title track paints a picture of Paris street scenes and late night B-movies with sub-titles. It, and indeed pretty much everything here, is hardly prog, the prog connection presumably coming from the way Comelade goes about his business rather than the overall results as such.

There is the occasional eyebrow raiser, such as the rare vocals by Jean Hervé Peron on "The Sad Skinhead". A couple of minutes later though, we are back into the Parisian accordions and Maurice Chevalier melodies. The vocals return, this time in unaccredited female form, on " Love Too Soon", a gentle piano ballad. The longest track is the 7+ minute "Sardana Dels Desemparats", where Comelade uses the luxury of the extra space available to build a credible Bolero type piece.

While there are always (naturally) distinctly French nuances in the work of Comelade, on this album he seems to allow them to become particularly dominant, the result being a generally more demure collection. The occasional appearance of vocals here does offer a brief diversion from the norm, but this is essentially an album which is interchangeable with many of those in Pascal's discography. An enjoyable listen, but by no means an essential one.

— First review of this album —

No sub-titles needed

Such is the complexity and proliferation of Pascal Comelade's discography that it is difficult to say for sure where an album sits within it. The best I can say for this 1993 album is that while he had been on the music scene since around 1975, this is one of his early albums, at least in numeric terms.

Comelade's trademark is to use children's instruments or child-like sounds to create simple melodies which are then brought together to form a patchwork which hopefully adds up to more than the sum of the parts. Here we have 17 short vignettes with a mainly continental (European) flavour. They paint pictures of Paris street scenes, of mysterious liaisons, and of the relaxed life of rural villages in remote parts where nothing much ever happens (at least until the film starts). This is the music of late night B-movies in foreign languages with sub-titles. It is the music of holidays when the host wishes to give the visitor a taste of the "authentic" atmosphere of the locale.

From time to time, familiar melodies come and go, such as the Tango tune used on "Haïku De Tango" and the slightly drunken rendition of " L'Orquestra Del Titanic Plays 'That's Amore' ". One does have to listen a bit more closely to "Like a rolling stone" which is played out in waltz time or something approximating to it.

"Traffic d'abstraction" is primarily and avant-garde work, but one which is very accessible and easy on the ear. There is nothing challenging about the music, and if I am honest, nothing really progressive either. This is essentially mood music, with melodies your aunt will enjoy too.

Tubular bells. without the Tubular Bells

I have to confess to knowing little or nothing about this avant-garde French musician. It seems though that he has been around the music scene since the mid 1970's, and has been highly prolific in his output since that time. Recently, I came across a few of his albums, and finding him listed on this site decided to investigate further. My review is therefore based entirely on this album being taken in isolation, and not in the context of his vast catalogue.

"El Cabaret Galactic" is a 1995 release which on the face of it is fairly typical of his modus operandi. The album is made up of a series of brief vignettes which on their own appear simplistic and superficial. Each though is a snapshot of a mood or style quite different to the next. When heard in series, these snippets merge together to form a suite which paints a fluid and unfolding succession of landscapes.

Comelade apparently has a bent for using children's music instruments and the sounds akin to them. These can certainly be heard throughout this album an example being the simple xylophone melody on "Toti Al Soler". "Le Dompteur De Mouche De Figueres" is a veritable concerto in 2 minutes, setting out as a delightful piano refrain before transforming into a completely different upbeat melody.

The longest track, and the only one to exceed 4 minutes, is the quasi symphonic "Your Eyes Like Juan Gris Cubist Guitar". This slow reflective piece is heavy on the strings then brass sections supporting the principal piano. An atmospheric accordion section adds Parisian alternating with what sounds like a stylophone as the melody gradually builds; an undoubted highlight of the album. Always a sucker for a nice tune, "Moritat Von Mackie Messer", although here I am left a little frustrated by its brevity.

Overall, there is a Spanish/Flamenco feel running through the album, an influence easily explained by the part of his life Comelade spent in Spain. For an artist of this type, the music is (to me) surprisingly tight in musical terms. There is little if any genuine improvisation here, and although the melodies tend to be kept simple they are well defined.

In all, a highly enjoyable and noticeably different approach to musical composition. Heard on their own, one could easily be forgiven for wondering what on earth Mr Comelade has to do with this site. Heard as the complete package though, this is in some ways a sort of "Tubular bells".