EROS

This is a jazzier, more up-beat expression of Zeuhl (if in fact, it is Zeuhl. I mean: how does one become 'Zeuhl'? Call up Christian Vander and ask approval? I've heard some groups assigned the 'Zeuhl' sub-genre moniker are disappointed [XING SA] and others who so obviously should fall in this category based upon their musical style aren't [GUAPO]. But then again, bands change and, unfortunately, this site hasn't seemed to figure out how to let individual albums receive their own individual assignations, instead of a band once and forever being labeled 'Symphonic' [GENESIS] or 'Crossover' [BIG BIG TRAIN] or 'Black Metal' [ULVER] [really, 'Post Rock/Math Rock'] or 'Experimental/Post Metal' [THE GATHERING] when the whole of their catalogues hardly express the sub-genre of music to which they were originally assigned. Somehow they've managed it on the new JMA (JAZZMUSICARCHIVES.COM) that Max et al. have created.)

"Eros" (8/10) takes one on quite a diverse journey. Because of the wonderful flute work in the rather pretty first section, I am reminded of several of the songs on EUMIR DEODATO's 1973 classic, Prelude. The second more avant garde section reminds me of KOTEBEL as well as Andean pipe musics. I like the ingenius effect as the weave of the guitar, bass and drums tightens and comes forward to overcome and then take over for the flute before settling in to support a funky synth solo. This is followed around the eight minute mark by a return to more avante jazz sounds and structures. An unusual crash and lull-to-fade completes the song.

"Bitonio" (6/10) begins like a staccato all-band percussion jam from the PAT METHENY GROUP song. Then piano arpeggios take the song into a different direction?one of flow and linearity. The next switch into the distorted/treated bass and decaying synth notes is interesting, but then it just as suddenly ends, to be replaced by a very spacious and suspenseful movie soundtrack scene:

(The murderer is lurking just around the corner!)

(Now he's there, in front of you! He's chasing you!) (Run!)

(A hiding place! Stop! Don't breath! Be invisible! )

(Is he coming? Should I check and see? No. Yes.)

(There he is! Run!)

(Hide!) (Run!)

(Hide!)

(He's caught you! It's over!)

"L'épice" (6/10) is, to my mind, a mix of some of the more dissonant musics of CHICK COREA/RETURN TO FOREVER and the Avant Garde stylings of YUGEN or UNIVERS ZÉRO (with, of course, the variation on HENRY MANCINI's "Peter Gunn" bass line). Kudos to the searing jazz rock guitar and warbled bass sound in the first section. More KOTEBEL-like flute in the second section. (I know I'm terribly guilty of assigning similarities between two different group's sounds even when one far predates the one I'm comparing it to. Je m'excuse.)

"Arrakis" (9/10) is, to my mind, the most nearly true Zeuhl song on the album, yet still more jazz-sounding and uplifting than most MAGMA work. It's very similar to the sound EUMIR DEODATO created on his two studio albums from the early 70s, Prelude and Deodato 2. The first 4 minutes and 15 seconds are quite enjoyable. The up-tempo middle section (4:15-6:50) is a bit tedious (mostly for the straightforward time signature held by the metronomic drumming), but the last sections are again quite fun (even the drum solo?at times flanged; a very cool effect, IMO).

Overall this album provides the listener with an experience more similar to that of UNIVERS ZERO than MAGMA, IMO. Good album, great composition and performance but lacking in accessibility and pleasure. Recommended for the experience?and for "Arrakis." 3.5 stars.