ARNAUD BUKWALD

Its about time to shine some well-deserved light onto this remarkable eclectic and therefore original underground artist, having most of his albums and now stamping his craft with well-deserved praise. The city of Dijon is famous for its tangy mustard, among many other delicacies (Crème de Cassis, Boeuf Bourguignon), so it should not come as a surprise that Arnaud Bukwald behaves more like a top chef, cooking up progressive recipes with massive amounts of condiments (funk, electronic, world, jazz, space, vaudeville, psychedelia and prog). His seven-album strong "La Marmite Cosmique" releases are all exhilarating soundtracks, often coming across like a sonic cornucopia banquet that stretches the boundaries of contemporary music, akin perhaps to Swiss electronic gurus Yello. His latest adventure has him teaming up with legend Didier Malherbe of Gong fame, still going strong at 81years young, a compelling union to say the least! 10 tracks, little over 33 minutes long, it suggests a completely different vibe, way less funky electro and nearer to world or traditional folk music!

From the opener "The Crescent Moon", the listener is taken into an altogether oblique realm, a sonic world of comfortable parameters, skillfully massaged with a variety of serene balms, such as a luxuriantly sultry vocal and Didier's wind instruments. Exposed mellotron gusts come along out of the blue, a sudden piano-led excursion into Tibetan flutes takes our ears into the valley of Shangri-La. Sorcery, fantasies and "Bindi blues" follows suite, with an assortment of flutes from the Gongman, tablas and hand percussion courtesy of singer Cherry Pob and acoustic guitars, sitars, keyboards and vocals from Arnaud.

The singular entrance in through the gates of world music is perfected on the escapist "Papangue", a spotlight for the ocarina to flutter without the slightest fear or effort. Meditative to the point of hypnosis, this 6-minute piece flows without ever becoming boring or even cyclical, evolving constantly as if burrowing into a profound sense of relaxed languor. Flung into a polar opposite American universe, "Seeds" has a gospel feel, with strong sense of 'amazing grace', a bluesy bottleneck slide guitar (or dobro) that is more akin with the Band, a crowning rhythm and blues vocal that has Muscle Shoals, Alabama slapped all over it. This rural variation continues on the vivid "Karma", as well as the blue "Looking Across" with tons of jangly acoustic guitars, soulful vocals from both Cherry and Arnaud, a musical tumbleweed that has a very early 60s feel. A couple of more snippets finish off this mostly acoustic set of musical nuggets, and acoustic guitar solo on "Hobgoblin" and a heartfelt "Crimson Skies" that has nothing to do with kings, but heavily reliant on neo-classical orchestrations, the acoustic guitar and Arnaud's rich voice.

Though I must admit I prefer his overtly prolific and highly original Cosmic Pot collection, this release has all the merits of being an ideal source of placid introspection and reflection, something sorely missing these days ?.. 4 Lunar plants

Arnaud teaming up with his hero, GONG founder and master of many of the world's traditional wind instruments, Didouk (Didier) Malherbe.

1. "The Crescent Moon" (5:23) an excellent song with two parts: one in which the sublime voice of Cherry Pob sings the poem of Amy Lowell's while Arnaud accompanies on Richie Havens-like strummed steel-string acoustic guitar, and then when Didouk takes over with some wind instruments (ocarina and flute). I absolutely love hearing Cherry sing in this Susan Osborn "Lay Down Your Burden" (Paul Winter Consort) style. (9.5/10)

2. "Le Sorcier" (3:29) Arnaud's folk strum-and-picked acoustic guitar with Cherry Pob's percussion instruments accompany Didouk's play on the Chinese bawu. (9/10)

3. "Daydream" (2:27) gently picked acoustic guitars, piano, and synth strings support Arno's deep voice (singing in English). Again, Richie Havens comes to mind (only with much better sound recording). The second half of the song is all instrumental. (4.5/5)

4. "Bindi Blues" (1:58) sitar, tabla, acoustic guitar and other percussives launch a very East Indian-sounding song--but with a Ry Cooder-like Western acoustic guitar fitted into the mix. Great tune--one that could've gone longer (for dance purposes). (4.5/5)

5. "Papangue" (6:04) Arno's acoustic guitar with Cherry Pob's kalimba-like tongue drum and Didouk playing a lively ocarina over the top. Great world music blend! The pensive, patient, middle section with its loose improvisational feel to it is my favorite part. (9/10)

6. "Seeds" (3:01) a blues-rocker with slow paced drums, bass, acoustic guitar, and prominent organ used to support Arno's gospel-bluesy vocal and Ry Cooder-like dobro soloing. Then, in the second verse Cherry Pob sings harmony, eventually taking over with her soaring gospel-blues vocalese. Wow! (9/10)

7. "Karma" (3:37) dobro (or is it Arno's weissenborn?) with droning sitar notes opens this one with a one minute introduction before frame drums, synth strings, and guitar jump into a propulsive motif for Arno to sing over. At the two-minute mark Cherry Pob's Shiela Chandra-like East Indian voice dronings enter and take the fore for a bit before Arno returns with the second and final verse. Very cool. (9.25/10)

8. "Looking Across" (3:26) folk-Americana acoustic guitar two-chord strumming supports Cherry singing in English a jazzed-up folk vocal that reminds me of some of the incredible psychedelic folk-blues music that came out of the San Francisco Bay Area in the mid-to-late Sixties! What a voice! Everytime Arno let's her shine on one of his compositions she blows me away! Amazing! (10/10)

9. "Hobgoblin" (1:44) a nice folk guitar display. (4.25/5)

10. "Crimson Skies" (2:20) guitar and synth strings combine to support Arno's final Richie Havens-like (4.5/5)

Total Time 33:29

Music that is balm to my soul! The music here is superbly composed, performed and, as usual, impeccably rendered. I am in absolute heaven listening to the album that Arnaud has just sent me: some of them simple ethnic-feeling folk songs, others more sophisticated jazz-rock fusion songs that the other Gong founders would be quite proud of!

A-/five stars; a minor masterpiece of progressive folk or prog world music in the traditions of Richie Havens, Ry Cooder, and the Paul Winter Consort. Awesome stuff! Highly recommended.

Dijon's funk culture historian returns with another album flowing from his true best love: 1970s Funk Jazz and R&B--peppered with a little Frank Zappa and George Clinton zaniness, of course. Line-up / Musicians: - Cherry Pob / vocals - Captain Cosmic (Arnaud Bukwald) / vocals, guitars, keyboards, composition, arrangements

1. "highs and lows" (2:02) long-time favorite collaborator Cherry Pob is back and in her best CHAKA KHAN voice for this late-70s-like Pop-R&B tune. Too bad they didn't extend it into a full song. (4.5/5)

2. "reborn" (2:41) bursts out of a little funk-jazz intro into a full-on jazz/R&B vocal with multiple tracks from Cherry Pob supported by Captain Cosmic's great funk-jazz-R&B instrumentation--and then joined by the Captain himself on the vocals. Love the horn section accents. (9.25/10)

3. "purple garlic" (1:52) funk organ, drums, bass, clavinet, horn banks, with synth horns and live horns (sax) soloing over the top. A little sample of the JBs, anyone? (4.625/5)

4. "knock out" (3:11) a little Betty Davis attitude! Nice lead guitar work, Maggot Brain! (8.75/10)

5. "revolution" (1:49) son of Kool & The Gang, Gil Scot-Heron, and Chic, here's Arnaud at his most nostalgic! (4.375/5)

6. "casus belli" (3:11) very engaging smooth jazz opening that leaves you salivating for what is possible--for what might come--and then the Captain delivers a sexy Euro-African-accented narration vocal as if we're watching some Black Sexploitation film from the mid-Seventies. Cherry Pob's eerie vocalise gives a Get Out! feel to the song. Awesome! (9.25/10)

7. "sunbath" (2:07) smooth jazzy Disco-R&B of the Minnie Ripperton/Randy Crawford/Chaka Khan vein. (5/5)

8. "the Groovy show" (1:27) Expanded/jazzed up Billy Preston "Outta Space" clavinet opening turns jazz funky with horns. (4.375/5)

9. "dynamite" (3:32) funk rhythm track with great funk rhythm guitar, clavinet, saxophone and horn section. Then comes the raunchy fuzz guitar, Afro scream, flutes, and Talk Box. Also, outstanding percussion throughout this song. More like this, please! (9.5/10)

10. "rebirth" (0:40) brief but awesome synth/keyboard piece. (5/5)

11. "city child" (4:04) Arnaud's Sly Stone/Gil Scot-Heron voice reaches for some Barry White sexiness. Big Switch at 1:40 to some Chic/Jamiroquoi. Great to be back in the late 1970s! At 3:05 there is another shift into some funk jazz with clavinet and trumpet before moving back to some Sly Stone style for the finish. Awesome blend and recap of the best of the groovy years. (9.75/10)

12. "cheeba" (1:37) a little jazz funk with some Reggae flavor. Again, awesome blend. (4.5/5)

13. "butterflies" (1:38) Arnaud has that rare gift of being able to melt the legs of the listener with only two words of his uber-sexy singing voice. Here it's just Arnaud with his Fender Rhodes. (4.375/5)

14. "phoenix" (3:46) beautiful Smooth Jazz chords with fretless bass and Steve Gadd-like drum perfection. Surprisingly, this is "only" an instrumental: sometimes it surprises me that Arnaud and/or Cherry aren't don't occupy every second of every album with their AMAZING voices. (8.875/10)

Total Time 33:37

It seems a bit unfair to assign this album a "progressive rock" categorization (even Jazz-Rock Fusion), but there is no hesitation that this is a GREAT album of pop-funk-R&B-jazz fusion from a major sound magician, master of many instruments, and true and devoted student of the 1970s funk scene.

A-/five stars; a masterpiece of modern retro-Jazz-Funk/R&B. Definitely HIGHLY recommended to all lovers of the Funk!

2023 has opened with a wonderful claim of Arnaud's latest album "La Marmite Cosmique 7 - Uncle Bizarre". This album is stuffed with colourful, kaleidoscopic Arnaud's oneman performances as well (interesting is such an expression like "composed and cooked by"). Lots of short tracks have various appearances based on his synthesizer- based melodies and rhythms, and every single song entertains us as much as possible. Basically his soundscape is clearly gentle and warm (sometimes quirky though) but simultaneously he gives us apparent excitement and amazement on a regular basis. It's obvious for us to find mysterious wonders through the sleeve pic (like a controlled brain lol). From the beginning of "Prologue" is an evident fantasy filled with eccentric synthesizer dissonances. Yeah we cannot help feeling what will happen from now on.

"Daredevil" is such a powerful enjoyment. Poppy, catchy, danceable grooves with crazy jazzy hints are pretty acceptable. Guess this short track can be cut for a single record. Vigorous. We will be deeply absorbed into female hummings in "Out Of The Blue", full of mysterious melody lines and swingly atmospheric soft smooth rhythmic aromas. Another short gem "The Wizard" holds a good combination of creamy wind instruments and kinky synthesizers. What an enjoyable short story. And we can enjoy funky bubblings and bizarre melodic launches filled with jazzy big-band-y streams in "Fangs". On the other hand, the masterpiece "Mermaid Lullabies" involves much musical essence. The fresh and fruity melodic departure firstly intoxicates us. And the dry coolly swingy mainstream created by horn sections is awesome really. Rigid drumming is comfortable too. A matured juicy wonderland by lyrical flute playing should stabilize our inner mind. And what a fantastic, gorgeous moment a chorus in the latter part is. Sensitive delicate sound explanation with listener-friendly texture is essential. Over 16 minutes is not long nor lengthy at all.

Fascinating sound development like this is a sort of authenticity of Arnaud.

Eclectic Renaissance man Arnaud Bukwald is back with his seventh installment of the La marmite cosmique series, and this time he lets his love for jazz, funk, and R&B come shining through within some undeniably proggy grooves.

1. "Prologue" (1:14) playful keyboard warm up using Fender Rhodes electric piano arpeggio chords (sounding a lot like Mr. Rogers' Neighborhood) and a slippery (Arp?) synth soloing over the top. (4.5/5)

2. "Daredevil" (1:52) funky soundtrack to some 1970s "Blaxploitation" film with some excellent interplay/conversations between the sax, synth, drums and bass. Excellent and fun! More of this, please. (5/5)

3. "Mermaid Lullabies" (17:20) one of Arnaud's epic journeys he takes us on in which he seemlessly, astonishingly, weaves together multiple seemingly-disparate musical styles together into one song. There are really three movements each expressing a totally different (and incongruous) musical style. The first is an example of what my daughter calls "White Man with a Guitar" as Arnaud sings in his amazing baritone like he's in a Beach Boys video. At 2:30, a slight key change occurs as the entrance of mezzo-soprano Cherry Pob's vocalise shifts this into a little different Prog Folk territory (which eventually comes to sound like Sweden's Moon Safari's Blomjlud). A pause and symbol crash at 4:24 signals the shift and entry into the second style that is that of 1958-61 Bill Evans/Miles Davis be-bop jazz. Sax leads the way over piano and "upright bass", but then at 5:35 there is another, gentler transition into a softer, "smooth" jazz realm similar to the stuff flutists Herbie Mann, Joe Farrell, and Hubert Laws were into in the late 60s and early 1970s. This shifts into Reggae land at 6:20 before a "dirty" Hammond organ takes over the lead at the end of the seventh minute. Flute returns at 7:20 before being joined by horns and multiple echoes of flutes in the wings, just before the bass elements re-enter and fill the bottom with a funky jazz stink. These synths are so Parliamentian! Pause for a very eerie section in which a discordant organ supports the haunting vocalise of Cherry Pob for a minute or so. Then, at 10:15 we fly into a new motif that still sounds like a soundtrack to a 1960s horror flick--but then we're off to Arabia for some sandy beach day dreams--thanks to zither, hand bells, and more of the amazing vocalise from chameleonic siren Cherry Pob. At 12:35 Zeuhlish keys and drumming with pulsing electronic bass signal another shift. We are clearly in the imaginary world of Kobaia (wherever that is) as Arnaud and Cherry team up to sing something in an extraterrestrial language known only to their kind (and maybe Christian Vander). At the end of the fifteenth minute the music shifts into something that sounds more Disney princess Cirque du Français. But then Cherry bursts my bubble by singing in English! while Arnaud subtly shifts the music more toward the stage musical for the big finish. (Okay, not so big.) Taking the song's title into consideration might help explain the drastic international shifts in musical styles that link together to make this suite. It's not really an epic so much as a tour--a peak inside the vast array of "favorite" mermaid hangouts. While not as cohesive in its flow, once again Arnaud (and Cherry) have taken us on a very interesting and enjoyable journey. (31/35)

4. "Woof Blues" (2:51) in pure 1960s Frank Zappa and The Mothers of Invention tradition, here Arnaud explores the perspective of a dog's life, with soulful French-accented English narration, in one of his comedic efforts--all set to the music of ABC's "Why Smokey Sings" combined with Martha Reeves & The Vandella's "Nowhere to Run." Very funny. Great musical choices. Frank would have loved it. (8.875/10)

5. "Floatsam" (1:50) another song that sounds like it came out of the 1970s Black film industry soundtracks--this one a tongue-in-cheek sexy-romantic piece. (4.33/5)

6. "Out of the Blue" (2:01) a jazzier take on Pink Floyd (and Clare Torey's) space-bluesy masterpiece, "The Great Gig in the Sky." Purely a study in imitation. (4.33/5)

7. "Moon Landing" (6:55) electronica taken back to use as a soundttrack to a 1960s sci-fi film. Interesting choice of sounds used to create this palette--including sitar. I like the experimental use of orchestra percussion panning/floating in the background. At 4:50 a Richard Wright (Pink Floyd) "Welcome to the Machine" synth (Prophet 5?) enters and takes the lead. In the final minute, wind sounds take over as the other instruments fade away, taking us to the end. Pretty cool! (13/15)

8. "The Wizard" (1:47) the resuscitation of the KING CRIMSON synth/Mellotron flute over/within which other synths, military snare, bouncy bass and violin keys join, all before an ELP "Lucky Man" portamento synthesizer enters to solo, to the end. (4.33/5)

9. "Fangs" (3:01) another interesting electronic and jazz combo that sounds very much like a tribute to Jean-Michel Jarre as much as to anyone else. The repetitive synth bass line gets a bit annoying pretty quickly.. I like the horn arrangements the best. I really wish Arnaud could have found a way to blend all of the last five or six songs together into one sci-fi kind of suite instead of offering these brife little "teases" that feel more like experiments to see if he could replicate--or find uses for--these "classic" sounds. (8.5/10)

10. "Nexus" (2:00) soul synth funk--George Clinton and Bernie Worrell would be proud--as would, I'm sure, some French pop artists that are unknown to me. Arnaud has such an amazing voice (like the late iconic 1970s, 80s, & 90s "Pillow Talk" DJ from WNIC FM Detroit, Alan Almond). I wish he'd use it more! (4.5/5)

11. "Maze" (7:54) another reflection/variation on classic PINK FLOYD sounds and songs. After the lengthy mid-song pause, the song turns into a variation on PF's opening movement of the "Shine on You Crazy Diamond" suite. (I keep waiting/expecting David Gilmour's lead guitar to invade the peaceful space-field.) (13/15)

Total Time 48:45

As always, Arnaud provides amazing sound production and gasp-worthy performances on his instruments--his mastery of so many instruments and mediums is truly astonishing. Arnaud does his typical nods to past classics by employing analogue synth sounds that were used in iconic (and often one-time) events--but then, as is also a pattern of Arnaud's, he will enmesh them within jazzy or funky or elctro-pop fabrics giving them a "fresh" or brain-teasing effect. Would that the prog world could be more receptive to this directional "push" toward electro-funk, I'd be a enthusiastic follower!

B+/4.5 stars; a near-masterpiece of boundary-pushing retro-electro prog funk; an album that I think everyone would enjoy and that I highly recommend you check out for yourselves.

This is only the second album I have heard from Arnaud and given that was the first of the "Marmite" series and this is now the sixth I am not surprised to find this is very different indeed. Here we have singer Cherry Pob combining with Arnaud, who provided all the arrangements, on two length tracks: "contes lunaires" is more than 22 minutes length, while "dynamogeny" is nearly 12 (both are deliberately titled in lower case). Here we have Arnaud working very much in the territory of modern classical, combined with experimental prog and even jazz, to create something which is both sweeping in its ambition yet also delicate and refined. It is an album which demands to be played on headphones, so that one can really get inside all the nuances and not miss anything, as the listener needs to pay close attention. One never knows where the music is going to lead, and while the main track is one long suite it could well have been broken into different elements as we can move from percussion-led orchestra to electronic keyboards that are staccato, or move into lounge, and be either instrumental or have stunning vocals with the male and female styles intermingling or being dominant, whatever the requirement.

At times it is almost reminiscent of Art Zoyd in its experimentation and RIO approach, while at others it is way more mainstream, which in itself can seem unusual due to the context it has been placed within. However, even though there is so much going on and the music is often changing dramatically in terms of style and focus, it is also incredibly interesting to listen to and enjoy on first hearing. Themes are sometimes returned to, especially within the vocals, and the double- tracking makes it seem that there is a full choir at play at times, with vocals which are more in the classical form than the popular. The result is yet another compelling album which is pushing musical boundaries and bringing together forms in a way that somehow makes total musical sense. It is thoroughly enjoyable from start to end, and I can't wait to see what Arnaud delivers next.

Brilliantly colourful musical therapy in a progressive manner, let me say. A French multi-instrumentalist / wide-range progressive gift-child Arnaud BUKWALD launched the sixth album of the series "La Marmite Cosmique". Arnaud's terrific artistic virtuoso has been fully exerted in this creation. This album consists of two long tracks (especially the first one "Contes Lunaires" is over twenty minute long) but never redundant ... every single track tells you a kaleidoscopic variation of sound components. Sounds like they have mainly deep, fashionable, stylish atmosphere plus heavy, dynamic impressions here and there ... yes just like a mixture of sensitive, fantastic Bourgogne Rouge and astringent, powerful Bordeaux Rouge.

"Contes Lunaires" is a masterpiece. Magnificent opening and delightful female voices, seasoned with oriental flavour or sutra-ish taste, is another temptation. The following stage is quite lyrical jazz rock, that could remind you of the similar vein to Québécois versatile rock commune L' INFONIE. And comfortable is electronic spices. Symphonic female voices are kinda oasis, and it might be good such an oasis come between flexible jazzy movements. The latter part is quite exciting and thrilling, along with an attractive instruments parade. Intriguing guitar plays and solemn pipe organ chants are pretty of speciality. Wondering this soundscape would have been created by Arnaud himself? Excellent. Contrary to the first masterpiece, the second stage "Dynamogeny'' has quite different texture. Psychedelic organ pieces, slow-tempo shoegaze bluesy guitar explosions are melancholic but promising. Slightly lengthy but dreamy fluent synthesizer-oriented funky line-arts make you tonic. Arnaud's diverse soundscape can be heard through the entire creation.

In conclusion, you can digest his aesthetic music talent out via this album. A fascinating stuff.

From Dijon, France, Arnaud Bukwald burst onto the Prog music scene in 2016 with not one, not two, but three La marmite cosmique album releases.

1. "From Dusk to Dawn" (3:36) a very cinematic (in a very 1970s B-movie way) piece to start with, but then, surprise of all surprises, it turns into an Emerson, Lake and Palmer piece at the one-minute mark. And a brilliant imitation it is! At 2:10 it pauses to reset before reforming into a ELP-tinged return to the comically-eery opening motif. (8.875/10)

2. "Chimères" (10:57) a very interesting musical piece that incorporates what feels like several completely different motifs into one 11-minute song. As a matter of fact, there are long blank pauses between each of the suite's three sub-sections--as if waving the abuse of song inclusion in our helpless faces. There are themes that are styled in very funked-up-jazzy, jazz-rock, and even Canterbury palettes--and very creatively so, I must admit: this is all quite unusual and unique music despite its odd nostalgic familiarity. Then there's the case of Arnaud's deep basso voice: it is also something quite unusual (perhaps even unique) for Prog World. Rated slightly down for the seemingly random scattering of ideas and themes. (I wonder if Arnaud works with film or video as he creates and edits his music.) (17.5/20)

3. "Serendipity" (1:22) interesting with female vocalise soaring over the top. (4.375/5)

4. "Zebra 3" (3:06) great groovin' 1970s "Black exploitation" soundtrack music. Arnaud is without doubt an expert in these funk styles--and his sound engineering is always flawlessly clear and clean. Heavy on the slap fretless bass, clavinet, congas, and funky alto saxophone. Switch in the second minute into more of a KOOL AND THE GANG/HUBERT LAWS groove Jackson. Sax and Hammond get some lead time over the awesome funk. Another odd ending/departure: kind of just leaving us hanging. (9/10)

5. "Zappo's Grill House" (5:21) opening with a section of awesome 1970s woodwind and Fender Rhodes-led smooth jazz-rock fusion à la Hubert (or Ronnie) Laws, the Jazz Crusaders, Deodato, or even the house of Dave Grusin. The long slow chord and key changes paced by the walking bass line as doubled up by piano and bass are wonderful--like a study in song pacing--while the rest of "the band" add their little idiosyncratic flourishes and riffs. (8.875/10)

6. "Post-Modern World" (4:45) Amazing space funk that reminds me of Deodato, Parliament, Newcleus, or even Pink Floyd, or, later, KOOP. Space wind break at the halfway point before accelerating again into a funked up Floydian "Welcome to the Pleasure Dome" continuation. Very, very cool! Daevid Allen, Pierre Moerlin, and Ed Wynne would be very impressed! (9/10)

7. "Mandala" (2:24) taking us on a journey into the Indian sub-continent, sitar, tablas, harmonium, violin and a host of other Indian instruments are perfectly mixed and matched to render this nearly-perfect expression of non-European music. Awesome! (9.5/10)

Total Time 31:31

B+/4.5 stars; rated down slightly for brevity; an excellent addition to any prog lover's music collection; highly recommended.

I thought I'd been following Arnaud's output fairly closely since I discovered his music in 2016, but somehow I missed this one--his obvious tribute to Gong guru Daevid Allen--whose passing surely prompted Arnaud's creation of it. Though the opening song, "children of the full moon," opens as a near-perfect WEATHER REPORT replication, it soon shifts into total and complete GONG You "Isle of Everywhere" territory. Arnaud's solo production is such a near replication, his own instrumental performances so striking for their smooth accuracy and soul-ful conveyance, it can't help but beg the question, Can Arnaud really play all of those instruments with the accuracy, dexterity, and virtuosic fluidity as Steve Hillage, Didier Malherbe, Pierre Moerlin, Tim Blake, and Mike Howlett? It appears so!

The second song on this brief EP is entitled "to Daevid." It is an Eastern Indian-influenced space meditative piece that serves perfectly as the appropriate sendoff for our Magick Brother. It makes me smile with joy at the reaction I imagine Daevid would have to this piece.

As always, brilliant work from this master of many styles and sounds.

The most creative master of synthesizing old sounds and styles into knew and exciting (and often witty) compositions is back with yet another jaw-dropping adventure into sonic magic-making. I am continuously in awe of Arnaud's uncanny ability to replicate and/or adapt old sounds, styles, and riffs and then meld them into something totally new and fresh. It is truly an amazing gift.

1. "Contes lunaires" (22:14) orchestration and operatic vocals! Am I on the set of Camelot? And then the sly slide into Zeuhl with the pairing of Arnaud's bass voice with Cherry Pob's mezzo! Genius! But then, holy sh*t! At the end of the second minute, the music slips into jazz--a fusion of early Magma Zeuhl and Soft Machine Third Canterbury! Wow! this is an even better fusion than SETNA! At 4:22 comes another sudden shift--into a variation on "Slightly, All the Time"--using piano-based jazz combo with sax and vibes--and then that Canterburian funky saw-organ! At 6:45 Arnaud again turns, this time into pure chordal Zeuhl structure, using echoed flute as his lead to distract us. Acoustic guitar, piano and the wafting, lilting voice of Cherry Pob take over at 7:32. I am in awe! Arnaud, you have truly outdone yourself! This is Annie Haslem Renaissance/Mike & Sally Oldfield territory. At 9:22 those acoustic guitars start to strum as Mellotron, cymbals, and "horns" join Cherry and synth-flutes. "Can You Hear Me?" At 10:52 we shift back into Zeuhlish jazz--a slow pace that shows off the two vocalists (who possess a magical DEAD CAN DANCE Brendan Perry/Lisa Gerrard chemistry). Wow! The tears are streaming down my cheeks! (and this is the third time through the song!) At 13:33 we get a shift into some kind of mystical forest of glass and wind as vibes/marimba flutes and cymbals create this spacious soundscape before being joined by the odd, sometimes discordant strums of a zither. Definitely a dream interlude. At 15:35 we transition rather suddenly back into a more angular, DAVE STEWART-oriented style of Canterbury. While multiple instrument sounds used are straight out of the Canterbury lexicon, Arnaud cleverly brings in a few sounds that are on the fringes--though definitely from within the jazz fusion world. When the church organ begins mounting its ascending attack and the bass, drums, and bank of multiple vocals join in, we are in the realm of the gods--Prog Valhalla! Reverse-engineered guitar solos and then fades while the organ continues its slow, repetitive climb toward heaven. I think we've made it! Pure brilliance--from start to finish! Arnaud's finest hour! (45/45)

2. "Dynamogeny" (11:50) take an early Pink Floyd journey into psychedelia and throw in a little Procul Harum like- organ in the beginning and some upbeat 1940s (or -60s!) Eurojazz-pop, but then give it a metronomic yet-soulful Can-like penetrating Krautrock beat and you've got "Dynamogeny." What a trip! What a creative genius! (23/25)

Total Time 34:04

Those of you who have not give this master chameleon a chance, you are really missing out. There is true, rare genius happening here!

A/five stars; a true masterpiece of eclectic or crossover progressive rock music from the 21st Century's master synthesizer of our favorite sounds from the past. Congratulations, Arnaud! You've truly outdone yourself! A truly astonishing display of composition and realization!

The best album I've heard of 2020 (so far)!