GÉNÉRATION SANS FUTUR

The third studio effort by Art Zoyd (the first one with pianista Patricia Dallio in the band's line-up) is an excellent sample of the gradually more aggressive approach to chamber-rock to be pursued, and then re-invented in following albums. "Génération Sans Futur" goes to more obscure places than the notably more ethereal preceding release "Musique Pour L'Odyssée": Art Zoyd's musical ideology has always been focused on exploring the sinister sides of the human mind and the universe in an avant-garde pattern, and this album finds the band delivering a special twist through its cohesive trend. 'La Ville' occupies the album's first 17- minutes, getting started with mysterious whispers, piano beats and nervous flourishes on violin, while the wind instruments relay a properly sustained climax. Right before getting at the 2 ¾ minute mark, the track's main body is set upon a solid basis of bass and violin upon which the trumpet and sax interact in delirious colors and the lead guitar displays controlled phrases. The augmenting neurosis does not take too long to manifest itself, but it indeed makes an unforgettable momentum. A new motif emerges on a less frantic note, albeit not less demented: the pulsating dissonant sounds on brass and strings and bassist Zaboitzeff's chanting state a very surreal, disturbing landscape. Before the arrival of minute 10 comes a very relaxing passage, bearing a minimalistic aura full of mysterious undertones. Actually, this passage serves as a bridge toward the track's final section, which retakes one previous motif with an enhanced pomposity, leading the track's development to a terrific grand finale in a most cerebral way. 'Speedy Gonzalez' takes its name from a cartoon mouse, a very funny character whose cocky nature and Latin lover manners helped him to overcome any trouble that came his way. Regarding the Art Zoyd piece itself (written by saxophonist Renard), this is a very gracious one, bearing a colorful playfulness that comes to show that avant-rock (even in the guise of chamber-rock) can also provide optimistic moods. Well, the album's second half gets started with the title track, whose initial ceremonious ambience set on a lyrical framework states an unequivocally evocative mood. But there must come a time when the Art Zoyd standards of neurosis and tension emerge and take hold of the whole situation, and when this moment comes for this specific track, things get really dense and disturbing, even enhanced with jazzy leanings. The environment gets dark and somber, and Daniel Dennis' participation as a guest drummer/percussionist happens to be a major asset at this. The last 90 seconds are focused on a set of syncopated deliveries on strings and woodwind that might as well resemble 73-75 King Crimson. In comparison, 'Divertissement' brings less emphasis on the disturbing and enhances the majestic, giving a protagonist role to the stringed instruments' interventions. 'Trois Miniatures' (penned by Eckert) closes down the album with a taste of modern jazz-fusion in this mini-orchestral context. Eckert's phrases are exquisite beyond words, with his partners being the perfect accomplices in the elaboration of subtle nuances through the basic harmonic scheme. There is a vital interlude that sets things on fire toward a climax, but basically the track is focused on its well-defined main body. "Génération Sans Futur" has a special importance in Art Zoyd's history, since it signifies the tendency to create an ever-robust sonic source in the rams of RIO. Being Alan Eckert's swansong in the band (besides the re-recording of the first album), this is a great way to depart and go through a different road.