If I were asked to define what exactly "Rock-In Opposition" was and sounded like, I would do two things: I would first think of a clear, concise definition of what the movement represented, and list a few bands that partook in the movement. Alongside of this, I would compile a mix-album of RIO music--or at least that's what I would've done. Things have changed after hearing Aksak Maboul's "Un Peu De L'Ame Des Bandits", and the group has actually made my life a bit easier (or would if ever I had to define the RIO movement), for this album alone stands to me as the epitome of what exactly this "RIO" business is.

The album kicks off with some Can-esque music and some eclectic vocal work on "A Modern Lesson", and later we are treated to some very unique piano work alongside some interesting horn and percussion work. This song alone is enough to make many turn their heads in shame--I can only imagine the reaction if this song were to come on over a loudspeaker in an American high school or on the jukebox at a pool hall (I'll have to try it one day...)

We are then treated to several tracks of eclectic, playful, full-out RIO music full of twists, turns, drops, assaults, and other mishaps. The entire album comes off as one long-winded joke--but at least it's a good one. Some of the better highlights, besides the opening track include the entirety of the ballad-y (and closest to "normal") second track "Palmiers En Pots", as well as most of the swirling vortex that is "I Viaggi Formano La Gioventú" (track 4)...then of course there's "Cinema", the highlight track of the album, which spans some 23 minutes. We are treated to ten or so minutes of experimental noise from woodwinds until the song picks up around 11 minutes with some extremely out-there guitar, piano, and percussion work--this song sounds like a mind going insane...what's great about it is, after the topsy-turvy first 25 minutes or the album, this song comes in to treat us with an on-edge break, before climaxing in a devilish swirl of oddities. The song continues in an odd manner, pausing for some nice, soft piano work now and then, before swirling to a close and ending in the same manner that it began, but in a much more chaotic manner...

The album ends on an unsettling note with "Age Route Brra", which begins with some MORE odd percussion and other odd noises (that's really what the album is: an assortment of organized, odd, fanciful, and immensely entertaining noises), before ending in a way reminiscent to the way it began. It's a fun feast, and we're all invited...

This album is deeply recommended for those who want an extreme look at the RIO movement in a few fun doses, as well as for fans of RIO that have not heard it yet. Other than that, I'd say it would probably be a bit too eclectic for fans of more modern prog to enjoy in much of a great extent. Either way, it comes deeply recommended from me. 4 stars, and more like 4.5.

Posted Saturday, December 15, 2007, 16:10 EST
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Aksak Maboul's debut was, in my opinion, a near-masterpiece. The Rock-In-Opposition movement (which was at the time a collective of five avant-garde bands) thought so as well, and Aksak ended up being one of the three bands added onto the original movement. Unfortunately, though, the RIO boys couldn't leave well enough alone. The duo which produced Onze Danses soon found itself flooded with musicians from other bands in the movement; Chris Cutler, Fred Frith, and Michel Berckmans quickly displaced the Hollander-Kenis duo which had produced the first album.

With the change in musicians came a change in sound; the quirky and unique mixture of ethnic and non-ethnic influences was drowned, and we were left with a somewhat stereotypical RIO album; strange chord progressions, unusual instruments, and mixtures of genres are present, but in a far less inspired fashion than by the original and inspired duo. While there are more than enough moments of RIO joy to satisfy a fan of the genre, there are also many spots that seem to lack inspiration.

Closer to 3.5 stars than it is to 3, this album will be welcome in the collection of a Rock-in-Opposition fan. But do yourself a favor and pick up the debut as well.

Posted Monday, November 26, 2007, 22:49 EST
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Mark Hollander and Vincent Kenis--overdubbing massively and assisted by a small army of session players--produce a wonderful "dog's breakfast" of music, covering a vast spectrum on this album; everything from various regions' ethnic music to "fake" jazz to proto-techno is covered. Each is twisted, spun, flipped, and combined with other types of music to create a classic of the avant-prog genre. Most of the pieces are well written, but there are a few pieces that drag. However, these tracks are short and quite excusable on a 17-track album.

Ultimately, this is a quite well-written effort which should be enjoyable to fans of the genre. After all, he quality, variety, and uniqueness of this album was considered to be of a high enough caliber for the band to be included in the RIO movement. If you aren't an RIO fan, however, this would probably not be the best introduction.

Posted Friday, August 10, 2007, 12:53 EST
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hen the average admirer considers the tenuous links between Rock in Opposition acts, their thoughts predictably lie with the dissonant and often loopy sounds of Univers Zero, Henry Cow and SMM. So one night, while enjoying my 61st experience of Univers Zeros' catalogue played in chronological order (also pondering over the recent breakdown of a fledgling romantic relationship), I decided to check out Aksak Maboul, over which my friend had been raving (prophetically for me).

I think to myself... what a peculiar world 'Onze Danses Pour Combattre La Migraine' creates; delicate, intriguing... admittedly a little mad, in an innocent childish way. Peering in through the window, one might gage this album a mess of mish-mash ideas, without any apparent synthesis. This is overturned, however, upon dissecting the recherché underbelly. For this reason I think many overlook this gem [incorrectly so].

Canterbury-esque RIO, appears to be an appropriate classification of this album. Despite retaining airy hints of Belgium's (a)typical Chamber rock sound, their personal twist on eastern flavour give a certain French feel [doubtless helped along by the accordion]. The music is sad, but in a nostalgic way, giving a delightful sense of innocence. The album provokes fond memories from the French movie Amelie; namely an introverted voice with a huge imagination, engaging in subtle manipulations, rather than iron-fisted force.

An undeniable classic, provoking vivid images of Peter Steller's infamous portraiture from Dr. Strangelove or an eminent French boulevard. A stunning album bound to whet the imagination.

Posted Tuesday, July 24, 2007, 05:09 EST
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Calling a band Maboul (French slang for crazy, nutty) creates certain expectations. And this album does hold up to them. The result might be called Ethnic-Noise-Chamber-Rock. This album alternates between the bizarre (A Modern Lesson) and the obscure (I Viaggi Formano La Gioventu) with the many oriental/arab sounds in some of the tracks and the classical instrumentation in others. I love the opening track for its disharmonic and contrasts between the female vocals and the instruments. The oriental sounds here add a great flavour to the music alongside the punk in several songs and the chamber-rock in others. Inoculating Rabies is a sort of post-punk track with its noisy guitars on the one hand which sound as if they were a bit far away from the microphones and the wind instruments (bassoon and oboe) which are more in the front of the music. The combination which may seem at first to not go together is actually working quite well, as do all other weird instrumental combinations in other tracks such as Bosses De Crosses. The 23 minutes Cinema starts as an abstract piece and then by ~6:00 gets into a more formed shape and becomes a chamber rock piece, and as it develops it brings in more elements into it. The end result is an eclectic album filled with very different styles that are put together and sound (to me) very good when played alongside. If you are a fan of RIO and the weird and avant-garde forms of music, then this album is for you. This receives 4 stars from me. It is a good album, which I enjoy tremendously. Maybe not the most essential RIO record, but it is worthwhile getting it nonetheless, it will enrich your prog collection.

Posted Friday, September 01, 2006, 13:37 EST
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