PULSAR

- Halloween Part I let's go lala, lala, piano for the solemn entrance song; after that it goes experimental, not bad at all with these spatial sounds like TANGERINE DREAM, well done for the age; the overly struck drums denote, the keyboards are too far back; we don't know if we're listening to symphonic rock or electronic music; the bold synth avoids thinking of OLDFIELD yet it was off to a good start; well the sound evolves with the solemn and metronomic part 3; the voice arrives... in English, why use it as yet another instrument? monolithic acoustic arpeggio bringing a gong and sounds that today we would call cinematic? Questions, a heavy guitar riff sows even more doubt, TANGERINE DREAM for this guitar; synthesizer sounds sound like bees doing their thing; secular percussive and vocal hit, a musical sermon from a music-loving priest; this passage is worth its weight even if the air is very choppy; we also think of the 'Bal des Laze' for an Olympian finale worthy of an episcopal procession

- Halloween Part II begins with distant percussions, choirs coming from elsewhere in space; we are no longer on Master SCHULZE there; a breath, yes a bit of the psychedelic period of PINK FLOYD, a bit of everything; the start brings back the sound of KING CRIMSON, here the loop is made, a little flute, violin, the sound is admirably found; this departure remains in a larval form, axolotl not knowing where to go; the continuation with a guitar solo imprinting a solemn melody for an enjoyable moment; the oldfieldian sound again with a beautiful flute; the voice comes through well, always with a solemn touch; the percussive hit adds emotion to the grandiloquent tune, this piece is well done, monolithic but with a beautiful crescendic rise; pastoral organ interlude the one before the church steps; hold the tune of 'Close Encounters of the 3rd Kind' suddenly introducing dithyrambic percussion; musical dog sounds then an acoustic arpeggio blending in; listen to the sound of the saucers from 'Mars Attack' yes they will land much later, it's an image; good digression suddenly reminding me of CLEARLIGHT, it swirls lastingly and pleasantly; ah a divine choir, shh I'm listening...yes not Gary NUMAN but the classic tune...beauty has a price and listening to this tune I always wonder why this group hasn't had more recognition.

If you are looking for an album that departs from the common parameters and creates its own structure, concept, time and story, it is definitely "Halloween". An entertaining, sensitive and tragic story of a conflicted protagonist pressured by the soon coming claws of death.

This symphonic tale begins with the first of what will be nine enigmatic parts that guide us through an intricate narrative. This is the shortest division of the album and is titled "Halloween Song". It introduces us to an uncomfortable, terrifying and even somewhat religious terrain through feminine and childish chants accompanied by a piano that does just that: accompany, through slow chords and notes that are still waiting for what will be.

The second part, entitled "Tired Answers", is the most important instrumental section of the album, which puts us in context and warns us what awaits the protagonist of this long-lasting 38-minute suite. It continues with the theme of slow melodies, but gradually introduces elementary instruments for the energy sought (and achieved) in the album: First the flute enters, supported by background keyboards as strong as a beam, which are responsible for the tragic, sad and paused atmosphere. Then the guitar, with less force than the flute but contributing to the consistent and growing horror, because that does not mean that the song loses level: the melancholy of the melody is the support of the frenzy of this instrumental section.

Unexpectedly, a tense transition changes the course of the song with synthesizers and drums leading this part of the journey. The first dissonant notes take place, highlighting the tension, fear and surprise. All this with fine arrangements and a delicate battle pulse. The more this track goes on, the more violent it gets and the more important the arrangements become, turning the song, or at least its concept, into a fight (of the protagonist who has not yet recited his first words) against fear.

It is important to remark again that the keyboards are definitely the main instrument of the song and the main transmitters of the tension.

Reaching the end of this second section, everything seems to calm down a bit. The song takes a little break after such a wild ride. The vocals return for a few seconds before moving on to what seems to be the return to the arena. The sounds created give the feeling that, the protagonist of this battle, returns with strength and confidence.

The third part "Colours of Childhood" kicks off the lyrics of the song. The lyrics are nostalgic to the max. The classical guitar that once humbly accompanied is now important for the first time with a riff that delicately (though still with a bit of tension) denotes that feeling as well. I interpret these verses as the nostalgia one might feel on the verge of losing one's life, the blunt and radical longing to feel for the last time innocence or happiness as if one could take it to the afterlife. A gentle but demandingly harsh remembrance of times when one was happy (or at least fondly remembered, for nostalgia is a rather contradictory terrain). After the first confession and the first plea for mercy, a small instrumental section with an energetic rhythm and an electric guitar solo leads us into the fourth part. Notice how the instruments pass from hand to hand the protagonism of the song.

The fourth part, entitled "Sorrow In My Dreams," demonstrates that the cornerstone of a great suite need not necessarily be ostentatious, complex or brilliant. It is the one that gives meaning to the entire 39 minutes. A section replete with meaning and symbolism, where the protagonist begs for mercy as he faces what is and will be his last existential crisis, at least in this life. And the poetic and beautiful thing about it is that the instruments seem to beg as well! 'How can I stand anymore the rising tide, the growing sorrow?' That rising tide symbolizes the huge set of sorrows, grievances, confusions, questions and regrets that were accumulating for so long until reaching the true end, the inexorable encounter with death. Great way to close side 1!

Side 2, begins with a rather strange and ambient fifth part, entitled "Lone Fantasy", where you can hear nervous breathing, percussion and keyboards that could represent the entrance to hell. Tribal sounds are here indispensable to create what is the character's panic. Some very well placed cellos initiate the lyrics of this second side of the album. The sound here has a much more symphonic vibe than on the first side. A very melodic and tense riff, but catchy. As I said before, it is to highlight that the change of instruments is impeccable. One could imagine that it would sound grotesque or inadequate, but the band shows a great hierarchy in this aspect and handles it with professionalism and musical wisdom.

The sixth part starts directly with a melody that seems to anticipate that the end is coming, with notes of conclusion. However, the story (as well as the melody) takes an unexpected turn.

Out of the very nothingness, happiness, which seemed a remotely distant and impossible feeling in this song, blossoms from deep within the song's brain to drastically defeat any feelings of woe, implying that it was all a nightmare of the protagonist. Here remains what is the most precious melody of the whole song - its title already makes it clear what is to come! The opening phrase of this section could also give the title to the entire song - 'A strange glint' is such a pertinent and poetic expression! The lyrics here have a very great importance. It is endowed with an extraordinary and rocking poetry, with the trait of ultra-optimism that a human being experiences after coming out of an unbearable hell, thus sharpening every feeling of happiness. Definitely an outstanding and well achieved symphonic sound.

Having finished the literature in this song, the remaining 8 instrumental minutes, divided into 3 sections (that one, before listening to them, thinks how it is possible to maintain the level after such a previous poetic section), begin with the seventh part "Misty Garden of Passion", which comes to calm things down a bit and cool down the exaggeration. Still, if one wants to stand still in both enjoyment and evaluation, that is impossible here, as the conflict of the character represented through the song is unfathomable and multi-layered.

When everything seemed to have calmed down, the eighth part "Fear of Frost" comes to bring back the tension - this album is called Halloween for a reason, isn't it?! One wonders what to think about it after so many exchanges, passages and sudden transitions. Definitely the emotional instability is the distinctive and main feature of the album. It is worth noting that, by this time, the electronic keyboard sound was very fashionable, and here it has a great use to increase the tension and the feeling of internal warfare. The meaning that can be given to this break (i.e. this section) is that the protagonist has acted in such a way that he will never have peace, or it will cost him a great sacrifice to achieve it. That dose of optimism and imagination that takes place in the sixth part can be interpreted as the urgent and powerful desire to feel love and happiness that can only be born and manifested after having experienced a presence in hell, due to the previously explained exaggeration and idealization.

This tragic, literary and symphonic story comes to the end of its narrative in the ninth and final cut "Time", a title that can mean a million things after the course of this album. Given its melody, I interpret it as giving meaning to the eternity of the protagonist's situation. Without this ninth part, perhaps the album would lose a bit of solidity and sense. It represents the immutable and inordinate value of time and what we do with it. It represents karma. It represents that the only one responsible for our life, is us. "Time" is the second shortest track on the album at less than two minutes long, and, creatively, it is the one that brings the sense of reality to the album, stopping the protagonist on a real plane, his plane of magna suffering, and pulling him out of the dream or any trace of imagination that isolates him from reality.

"Halloween" is the band's most outstanding work, positioning it in a prestigious place in the history of French progressive rock. An iconic tale that will remain in the mind of the progressive collective unconscious.

A masterful job !

I can easily understand that this album has disappointed many listeners. Such was the case with me, upon his discovery: "How? This thing, a masterpiece? It's a joke! " I did not understand. At the time, Yes was the pinnacle of prog. That is to say a complex music, performed by virtuosos. I kept Halloween for many years and I did well! Because almost thirty years later, by chance of my replaying, I finally grasped all the content.

The intro displeased me for a long time, if only because of some imperfection in the voice. Now, I understand that this imperfection is due to the youth of the performer (Sylvia Ekström was 7 years old!), and that this youth perfectly serves the purpose that the members of Pulsar had set for themselves.

Pulsar offers us a perfectly mastered work. The music is soft, subtle, melancholy and charged with emotion. (The middle section of Part 2, for example, touches the sublime.) The instrumentation is rich. In addition to traditional rock instruments, we hear piano, flute, clarinet and cello. The composition offers a series of admirably interwoven fluid movements and the final is beautiful. Special mention to the drummer who not only accompanies but actively participates in the atmosphere. While remaining discreet, he delivers us unconventional rhythms, bordering on polyrhythm.

Undeniably, the best French prog work and a must in the world of prog history.

Very nice symphonic progrock, wich can also be categorized as symphonic spacerock. Some of the music even reminds me a bit of Tangerine Dream.

The music and instrumentation sound a bit tame, not very adventurous. But on the other hand is really atmosferic. I guess this album is more on the easy-listening side of symphonic rock and spacerock, with a small glimpse of what progrock will sound like in the eighties (Pendragon, IQ, Marillion).

I like it, but I can understand that other won't. So this album is far from essential, although is definately is a very okay album with a pleasant sound and before I forget: some very nice flute-playing.

Again I ramble on about the cover art. In this case I have to, so that everyone unaware of the content on this album are able to make the right decision and buy this sperctacular piece of progressive music. It's true, the cover is quite awful. Some sort of romantic get together or is it a scene from some late 70's soft porn movie? What I think happened back in 1977, when this album was released, was that someone misunderstood his or hers instructions regarding the artwork. Someone misread or misinterpreted the grand scheme behind the cover. Well, the damage may have been done and now we must not dwell upon it any longer. Therefore I will journey on, to the music itself.

Pulsar was a sypmhonic prog band from France that had already released a couple of beautiful and excellent albums prior to this one. "Halloween" is, however, their crowning achievement. A spectacular and magnificent album. The two tracks spanning over 40 glorious minutes are maybe the shortest 40 minutes I have ever experienced. The musical experience is so immense and profound that time simply passes by, like the blink of an eye. Great mellotron, amazing keyboards of allsorts and excellent execution throughout makes this a somewhat out of this world experience.

It all begins with the high pitched vocals of a child, which is quite eerie, as quite a few sections are on this album, before the mellotron hits you. And then we're off. The romantic cover art (here I go again) says nothing about the journey you're about to take. This isn't soft prog or some pop infused semi-complex album. This is 100% symphonic prog that sweeps from gentle parts to harsher ones and into really elaborate and complex bits. I will not dissect the parts of the two epics. I will make do by saying that they are so well composed and form a whole that is unbelievable.

I tend to, as one should, shy away from giving albums the five star rating. That is unless it really, really deserves it. A five star rating in my book is an album with absolutely no flaw, no fillers, no boring parts and no annoying anything. This album is everything I hope for and dream of when it comes to progressive music. I have absolutely nothing to complain about. Thus I will award it five stars. This is impeccable and divine music. If you find this album, buy it. Just buy the bloody thing. It's prog heaven.

France produced several symphonic prog bands in the 70's, and PULSAR were among the best. Some have called them the French Pink Floyd, and it's pretty poignant if one doesn't take it too literally. The spacey debut (1975) has elements of psychedelia reminiscent of the Saucerful-era Floyd, as well as some electronic music flavours. The instrumentally oriented, wonderfully atmospheric second album The Strands of Future (1976) increased symphonic prog elements and shifted the band's style just a bit closer to Genesis. Thanks to its success, the band were signed to CBS and given the best studio equipment available for the third album Halloween. It has been hailed as one of the masterpieces of European symphonic prog. Undoubtedly the feelings of disappointment that some critics here have felt is due to all the hype they have seen on this album. Revealingly, many ratings (with the review included) are either five or three stars.

The 39-minute album has two side-long parts, both featuring titled movements that follow each other seamlessly. Part One starts with a girl vocalise in the melody of 'Danny Boy', backed with piano only. The longest movement 'Tired Answers' is at first very delicate and slow-tempo instrumental prog with synths, acoustic guitar and flute in the main roles, until the darker, horror-like mood sets in and the intensity grows. The keyboards dominate, reminding more of the Tangerine Dream between '74 - '79 than British bands such as Genesis. The third and fourth movements feature male vocals, sung tenderly in English. The perfectly produced sound is a beautiful combination of the acoustic and the electronic. The mood remains restrained, semi-creepy at best, in a rather mellow and romantic way, and perhaps some listeners would expect more edginess from a horror-themed work.

The second part is equally elegant, starting with a slow tempo delicacy with vocals. The vocals are even more central on the melodic and symph-prog structured second movement 'Dawn Over Darkness'. The flute makes a beautiful appearance. 'Misty Garden of Passion' is a mellow instrumental interlude, followed by a more intense, synth-oriented 'Fear of Frost'. One may think of the most prog-rock albums of Tangerine Dream (Cyclone and Force Majeure). The slow and majestic final movement has ethereal vocals and synths.

When I started this review I didn't know my rating. I've had the CD for four years but haven't listened to it often. Halloween may not be as unforgettable symph prog masterpiece as the certain British classics from Genesis, Yes, Renaissance, Camel, etc., but I can't really spot any faults in it. If you're in a suitable mood -- not expecting more edginess and originality -- you will most likely find a lot to enjoy on this excellently produced and coherent concept album.

Pollen is a debut album of a French symphonic rock band Pulsar. The band's music bears strong resemblance to what is said to have been their original musical inspiration - namely Pink Floyd (covers of whom the band played when they started out) and Genesis. Still lacking a very defined and distinct sound, band appears to be fluent in space rock jams infused with various synthesizers. All of the tracks are throughoutly melodic with an already mentioned strong symphonic feel to them.

"Pulsar", a self-titled track marks the very first appearance of an awfully high-pitched synthesizer sound that is going to appear throughout the rest of the whole album. I find its tone dreadfully ear-soring and unpleasant. The overall feel of this song is familiar, sharing common elements with some of Pulsar's contemporaries. "Apaisemen" is where French vocals kick in. I feel these are not of the highest quality. Not shrill, but rather dull and uninteresting. This tune has a very Peter Gabriel-like flute part painted on canvas in form of smooth, mellow string synthesizes. "Puzzle/Omen" is again drenched with previously mentioned synthesizers and features (this time in English) a female spoken poem part. This resolves to a catchy, cinematic-sounding melody again, inspired by Genesis and maybe even Camel. All this topped with a very spacey feeling. "Le Cheval De Syllogie" is in my conjecture the best track on the album. It starts out with superb, dark electronic sounds. Than the melody comes with a superb guitar part and lush organ backing. This track is kept in a Van Der Graaf Generator-esque mood. "Pollen" is a more feminine, quitet and acoustic song with decent flute playing and sadly weak vocals.

In conclusion, Pulsar's debut album is flawed to some extent. The band seems to have felt a bit too comfortable with electronic effects which (at times used unprofficlently) ruin potentially enjoyable moments. At moments lacking, sometimes exposing the shortage of experience, this shares many blemishes with other bands still looking for their sound. However, it does have some very neat moments to it. The follow-up of this one is a much better effort! Three stars!

I'm not sure I can be very objective in my comment. I must admit I have a particular attachment for this record which enchanted my teenage years with its ethereal tones : somewhere between Pink Floyd and King Crimson, with some recollections of Hackett's Voyage of the acolyte.

Maybe it's a difficult, a very demanding record. More than the obviously and immediately fascinating "Halloween". But if you find how to sail on it, your trip will take you among magnificent dreamlike visions.

We are 1000 miles far from the luxuriant symphonism of Yes, ELP or Genesis. Here, the music is calmed but tourmented. The voice is beautiful and deep, nearly religious sometimes (more especially in the splendid "Window"). The music creates an ideal atmosphere for introspection and takes you like a large celestial river to cosmic landscapes without limits where you think time can not pass.

And when the soft waves of choirs of "Fool's failure" end, you know the dream is over but you feel calmed and reassured. Then, maybe you will think like me it's one of the 5 greatest records of french prog rock.

Review Nº 42

Pulsar is a French symphonic progressive rock band formed in the early of the 70's in Lyon, France. Almost forty years ago, Pulsar was acclaimed as one of the best French progressive rock bands, among others such as Ange, Atoll and Magma. They began their successful musical career with their debut studio album 'Pollen' released in 1975. But, their second studio album 'The Strands Of The Future' released in 1976, launched Pulsar into the big scene of the French progressive rock music. However, it was only with their third studio album 'Halloween' released in 1977, that they achieved the stardom and the really acclaimed world success. With 'Halloween', Pulsar left the French geographic space and achieved the status of a great progressive world's band. The success of the album was such that 'Halloween' became even known in some circles as one of the best symphonic progressive albums of all time.

The band's name Pulsar was derived from the dark sun in outer space, which can be found only by the sound waves that it emits. Pulsars are rotating neutron stars, and how they're very dense the pulses are very regular. The electromagnetic radiation can only be observed when the beam of emission is pointing towards the Earth, and is responsible for the pulsed appearance of emission. This regular effect is called the lighthouse effect.

The line up of the band on 'Halloween' is Gilbert Gandil (lead vocals and guitars), Jacques Roman (mellotron, keyboards and synthesizers), Roland Richard (acoustic piano, flute, clarinet and strings), Victor Bosh (drums and percussion) and Michel Masson (bass guitar). Masson is an old friend of the band and has replaced Philippe Roman (vocals and bass) who participated on their debut album Pollen, and left the band in 1976 for health reasons.

'Halloween' is a conceptual symphonic studio album with only one theme, with the same name of the album. It's divided into two side long parts, 'Halloween Part I' and 'Halloween Part II'. Each part is also divided into several songs. On the first part, the 'Halloween Part I', there are four songs: 'Halloween Song', 'Tired Answers', 'Colours Of Childhood' and 'Sorrow In My Dreams'. On the second part, the 'Halloween Part II', there are five songs: 'Lone Fantasy', 'Dawn Over Darkness', 'Misty Garden Of Passion', 'Fear Of Frost' and 'Time'. On this third musical work of the group, this is the first time that all the lyrics on the album are sung in English.

'Halloween' tells us a kind of an imaginary journey of a little girl to the country of sad dolls. This ambiguous, esoteric, cruel and entirely surrealistic story, relates the conversation between the little girl and an undefined person or thing. The lyrics were written in common by all the musicians, but were inspired on a strange story written by their drummer Bosh, some time before. The lyrics were written in French by all the musicians and translated into English by an English teacher, friend of them. Probably, he is Fran'ois Artaud, the same college professor who translated 'Puzzle/Omen' on 'Pollen'. Musically, the research for the write of all the musical pieces was also done by all the musicians. Despite all the musicians love different kinds of music, it's particularly evident the influence on this album, of the romanticism of the Gustav Mahler's music and the atmospheric ambiguous and indolent of the Luchino Visconti's film 'Death In Venice', directed in 1971, which was based on the novel of the same name of Thomas Mann.

Pulsar toured throughout Europe to present on live, 'Halloween'. In 1978, the group performed in two night concerts in my country, Portugal, where 15.000 people saw the two live shows that will last forever in their memory. It was the final evidence of their successful musical career and their potential as a big world's band. I had the privilege of being one of those 15.000 people who assisted to one of those two live concerts in Cascais, a place near to Lisbon.

Conclusion: Probably, Pulsar is my French favourite band of the 70's, and 'Halloween' is probably also my favourite French album of the 70's. This is a perfect work which combines musical success with the celebration of a grandiose symphonic music and a technical achievement with perfect recording and full of nuances of a mixture of dark and warm colours. 'Halloween' is a fetishist cult album where the beauty and the perfection give to it the timelessness and the longevity which are the prerogatives of the truly masterpieces' works. Pulsar's 'Halloween' is undoubtedly one of the major's progressive albums of the second half of the 70's, as well as their previous album 'The Strands Of The Future'. 'Halloween', is simply a touchingly, beautiful and emotional symphonic progressive rock album, and is one of the essential musical pieces from the French rock scene of the 70's. Both, 'Halloween' and 'The Strands Of The Future' are two truly classics of the dark symphonic progressive rock albums, and are among the best releases that came out of France in the 70's. Definitely, they're two personal favourites of mine and deserve to be better known.

Prog is my Ferrari. Jem Godfrey (Frost*)

Review Nº 41

Pulsar is a French symphonic progressive rock band whose influences include several progressive rock groups, such as Pink Floyd, Genesis and King Crimson, plus diverse classical musical influences like Gustav Mahler. Pulsar is a master of mood and musical atmospheres and has been often compared to the early Pink Floyd. Like many of their French contemporaries, the Pulsar's music was in general characterized by extended musical suites with some dark musical atmospheres with a certain sense of grandeur and mood, painting grandiose and often horrific backdrops with mournful and sedate vocals. Within the symphonic progressive rock movement, Pulsar's fascination with dark musical atmospheres mixed with symphonic tendencies makes of their sound practically quite unique.

Pulsar became the French first group to be distributed by an English record label, which was called Kingdom Records. The name of the band was chosen by Philippe Roman, one of the founder members of the group. The choice of this name has two connections. The first, as coming from the Pulsars, which are highly magnetized rotating neutron stars that emit a beam of electromagnetic radiation, and the second corresponds to their new spatial musical style.

The line up of the band on this second studio album is Gilbert Gandil (lead vocals and guitars), Jacques Roman (organ, mellotron, bass and synthesizers), Roland Richard (piano, flute and strings) and Victor Bosh (drums and percussion). Philippe Roman (vocals, bass, and lyrics) who was one of the founders and one of the band's member who participated on their debut studio album 'Pollen' released in 1975, left the group in 1976 for health reasons. The future bassist of the band Michel Masson, which became a band's member only on their next third studio album 'Halloween', released in 1977, collaborated with the group on 'The Strands Of The Future'.

'The Strands Of The Future' is the second studio album of Pulsar and was released in 1976. It may be considered as a French progressive rock classic album, and which reflects a solid improvement compared to their debut musical work, 'Pollen'. The album launched Pulsar into the big scenarios of the French rock scene, selling 40.000 copies only in just six months. Pulsar became, only just behind of Ange, in one of the biggest French progressive rock groups, at the time. It allowed the band to sign a new contract with one of the biggest record labels, in that time, the American CBS.

'The Strands Of The Future' has four tracks. The first track is the title track 'The Strands Of The Future'. It's the lengthiest track on the album and it fills all the entire side of the original vinyl disc. This track is a truly masterpiece of the spatial rock and is without any doubt one of the best songs made by the group and, it can be regarded as one of the best progressive pieces made in the 70's. It's a fantastic progressive track, almost instrumental, with the few lyrics sung in French. This became an exception on this album. On their debut album the lyrics are almost all in French, but on this album, with this exception, all the lyrics are in English. The second track 'Flight' is an instrumental track and is the smallest song on the album. This is a very interesting piece of music in the style of the French progressive rock, with good combination of keyboards, flutes and strings. Despite its modest length, it features several different musical passages, which more or less, encapsulate the sound of the whole album in a couple of minutes. The third track 'Windows' is a melodic, symphonic and dense ballad with floating vocals and with a great, flute's work. It's a very gentle song, almost pastoral, with some moments of a real space travel voyage, which makes us dreaming. This is a mellow song that pointed forward to their next studio album. The fourth track 'Fool's Failure' is the second lengthiest track on the album. It opens with the space mellotron sounds and it's a very massive symphonic theme, which became a real great closing track for this album. This is a little bit dark and a mysterious song of the French symphonic rock. Somehow, 'Fool's Failure' recovers the magic of the opening track, thus making as a returning to its origins.

Conclusion: 'The Strands Of The Future' is an excellent album and a great evolution in relation to their debut musical work, 'Pollen'. It contains an extremely beautiful, spatial and symphonic progressive music in the same vein of Pink Floyd, Genesis, Eloy or Ange. The general musical atmosphere of the album is enhanced by some fantastic musical passages of mellotron. And of course, it has its title track, which is a truly masterpiece and represents, for me, the best track ever made by them. This is the album that puts Pulsar on the top of the French symphonic progressive rock music and at the same quality level of some other French symphonic progressive groups, such as Ange and Atoll. So, if you like Genesis, King Crimson and Pink Floyd, and in general of the spatial rock music, you mustn't miss this album in no way. It represents a great introduction to the Pulsar's world and to the French progressive rock music in general.

Prog is my Ferrari. Jem Godfrey (Frost*)