POTEMKINE

This third and final album from POTEMKINE swung more in the direction of the debut "Foetus" and reverted to a more jazz oriented style of fusion and deemphasized the 20th century classical, avant-prog and zeuhl complexities of the band's second album "Triton." The album also sounds a lot like Soft Machine's jazz fusion years roughly from "Six," "Seven" and especially "Bundles" although no Alan Holdsworth around to ignite the fire that brings the music to another level. While more energetic and with more substantial composiitons, NICOLAS II sounds a bit like a standard jazz fusion affair from the 1970s rather than an innovative work that sets the band apart from its competition unlike the unique stylistic approach achieved on "Triton." Basically this album sounds an amalgamation of any influences the band could garner up. A touch of Brand X here, a dab of Weather Report there with other influences coming to mind but the keyboard work of Michel Goubin brings the Soft Machine connections to light.

While the Magma influences had been deemphasized, they still come through on some tracks such as "Ode de Mars" courtesy of Dominique Dubuisson's beefy bass riffing so every once in a while the album feels like a mix of Magma, Soft Machine, Weather Report and Brand X although the POTEMKINE of "Triton" is sorely missing as it much more experimental and daring in its approach and NICOLAS II sounds like the band is trying to play it all safe in order to fit in with the accepted jazz fusion sounds of the day. The problem is that the band didn't deliver a sound that is unique and neither are the compositions enthralling in any way although the performances are acceptable. Charles Goubin is quite busy on this album with his guitar playing yet he seems like a second rate guitarist in the world of jazz fusion in an era that has produced veritable guitar gods such as John McLaughlin, Alan Holdsworth, John Albercombie and Al DiMeola just to name a few.

While better than "Foetus" which was a rather dull album that barely steamed above simmer, NICOLAS II is a rather by the books jazz fusion album of the 1970s and doesn't really stand out in any particular way. This is sad because "Triton" on the other hand was engaging and dynamic all the way through its run. While this is perfectly acceptable jazz fusion that won't disappoint as far as enjoyability, the album to me sounds a bit generic considering by 1978 the prog world was chock full of classic jazz fusion albums that far exceeded anything POTEMKINE crafted on NICOLAS II. Overall this is an OK if average jazz fusion release that found the band lose its momentum and although would carry on for a few more years until its demise in 1982, never was able to release another album after this one as the tides were turning against complex music in the market and POTEMKINE seemed to peak and then rapidly decline.

3.5 stars rounded down

The band followed up with its sophomore release TRITON which came out in 1977 and offered a much more accomplished roster of five tracks that added up to just over 37 minutes of playing time. TRITON found POTEMKINE taking its jazz rock and zeuhl fusion to the world of 20th century classical complexity with composers such as Edgar Varese, Erik Satie and Claude DeBussy serving as the primary inspirational figures. The title of the album refers to the tritone which was considered the work of the devil by the Spanish Inquisition and only reintroduced to Western Music by composers such as Stravinsky and Bartok.

The lineup expanded as well which included the three Goubin brothers: Charles (guitar) Michael (keyboards), Phillipe (drums) and Dominque Dubuisson back on bass as well as Xavier Vidal returning on violins. However yet another Goubin, this time bassist Gilles joined the team as well as an extra drummer Maurice Bataille on a couple of tracks. At this same time POTEMKINE also started to dabble in the world of avant-prog with a more abstract sound courtesy of exposure to bands like Art Zoyd and Etron Fou Leloublan. The results of all this newfound inspiration made TRITON a much more interesting album than the band's debut "Foetus." Likewise the zeuhl rhythms and influences are much more apparent on TRITON which created a very original sound that set the band easily apart from the competition.

The album is primarily an instrumental fusion of the avant-prog delivered by the Rock In Opposition bands that were popping up around Belgium and France in the late 1970s along with the Magma and already established jazz fusion tendencies although still no woodwinds or jazzy horn sections in the mix. The album also offers a few wordless vocals that serve as an extra instrument mostly in the form of haunting backdrops to creepy avant-garde musical processions. The music is much more diverse on TRITON with the tracks offering a wide range of musical exploration and chock full of various time signature workouts that offer a huge sonic expansion of timbres, dynamics and complexity of the compositions. The distinct use of guitar work also was unique for any major zeuhl works of the 1970s.

This album really features a nice mix of things: various percussive instruments, a unique bouncy bass presence and a quirky way of delivering the guitar parts. Lots of virtuoso piano runs and best of all the compositions are ridiculously complex with difficult to follow yet logically cohesive processions through various motifs and disparate cadences. An uncredited female vocalist sort of drops in and out unexpectedly offering a spectral haunting effect with wordless vocals. The album is extremely engaging and infinitely more dynamic than the rather sleepy indeterminate debut. The jazzy interludes are delivered by the combo effect of the percussion and piano rolls at key moments which keeps this album juggling the worlds of jazz, classical, zeuhl and avant-prog quite nicely.

The album closes with the lengthiest track "Eiram" which at 13 1/2 minutes really takes the band into its full potential and offers a wild ride through the world of wild unhinged prog that had been established on the previous tracks. A huge step up for POTEMKINE and one of those crazy complex prog albums for those who like it knotty and angular as it can possibly get. The reissues offer a whopping four bonus tracks which are equally as captivating especially the feisty "Rictus" which is more energetic than anything on TRITON's original track listing as the album itself simmers on mid-tempo for the majority of its run. Great album and the only one of POTEMKINE's three album run to really implement zeuhl bass grooves in full force.

It took two more years but the band pushed ahead and recorded its first full-length FOETUS in 1976 on lauded Pole Records better known for its wild French take on progressive electronic than jazz rock but nevertheless the release of the album found the band finding larger playing venues and exposure courtesy of the brilliant Tartempion non-profit which organized concerts. Delivering a much mellower style of jazz rock fusion with zeuhl rhythms and wordless vocals, FOETUS seamlessly melded the placidity of the Weather Report with the more French sounding zeuhl sounds of Zao only with a more robust flow of diverse cadences and musical motifs that were occasional punctuated with a bit of guitar heft for contrast. The Jannick Top style fretless bass slides gave it a distinct zeuhl flavor as do the scattered vocal appearances.

More jazz rock oriented than zeuhl, FOETUS showcases a dreamy procession of jazz-fueled workouts with scat vocals adding an extra element of support. The music mostly drifts on in slo-mo but occasional outbursts add some spice. Despite the jazzy chord progressions and nods towards varying fusionists, POTEMKINE featured no horn section or wind instruments with the bass, drums and keyboards seeing the most action. The violin creeps in from time to time for assistance in the spicing it up department and the same with the guitar so mostly FOETUS features sparse instrumentation and tends to engage in repetitive grooves that don't offer as much diversity or contrast as one would expect from anything remotely tucked into the zeuhl category. The track "Cedille" sounds more like a classical piano recital with no other instrumentation to be heard. Remote references to England's Canterbury Scene are on the fringe but never really heads in that direction.

Overall FOETUS is a bit too tame for my liking as the entire affair seems like the band as only getting its footing in its new chosen style of operation. The compositions are particularly weak and the use of the violin seems like wasted potential. While the pianist clearly showcases a competency level worthy of a the prog rock status, the rest of the musicians don't seem on top of their game. While the band hints at zeuhl it never really goes there either. It's more of a traditional and rather bland display of underwhelming jazz fusion that sounds neither cohesive nor particularly well crafted. It's not a horrible listening experience by any means but in category of progressive music that was cranking out some of the most exhilarating musical acts of all time, POTEMKINE's debut seems a bit lackluster in comparison. The only track that really gets my juices flowing is the two minute finale "Cycles." OK album but not great.

Nothing negative to say, but its a fairly middling jazz fusion album really. But not a bad way for Potemkine to end their run of albums

That crossover is demonstrated perfectly by the first track Asyle, which sounds very Canterbury-like but with the slightly totalitarian Zeuhl feel of early Magma (those piano chords!)

Crepuscula is incredibly slow and dark sounding, and could have been an inspiration for later Avant/Zeuhl efforts like Shub-Niggurath. Its not really for me though.

Loolit II, a sequel to a jazz fusion style track on their earlier album Foetus. This longer track is fairly similar but again with much darker Zeuhl undertones

Liberserim Urb Et Chant de Viamor is almost a bit oriental at times while still maintaining its Zeuhl influence particularly with some wordless vocals.

Eiram is the longest track on the album and is almost an extended overture of all the preceeding tracks. Lots of different passages in a few different styles - Zeuhl, Canterbury, Avant-Garde, all wrapped together. Beautiful melodic passages, others of just seemingly random noise. Not quite something for everyone, but definitely plenty to sink into.

Title track Foetus is a lovely calming tune, as others have said, actually quite in Canterbury style. The Zeuhl influence is more in the slow rhythm that develops towards the end of the track around the 5 minute mark, but Zed is the truly Zeuhl track on the album.

From here I do lose a bit of interest though. Nuit sur le Golan is an Avant/Musique concrète track that I'd just skip. Ballade needs a bit of mixing work - the keys are so loud at times compared to every other instrument its impossible to find a comfortable volume to listen to it. Hymne is similar but a fairly interesting track.

Loolite does bring things back to decent levels again, a good jazz fusion track with a swirling guitar. Cedille is an interesting piano melody, starting almost like the intro to a Mafia film but then breaking into some very calm, beautiful melodies. Laure is another decent jazz number if a little bit strange in that it takes a long time to develop - no Zeuhl to be found though. Sadly the album ends weaklywitha short jam, Cycles.

A disjointed album in all, with a handful of good tracks mixed in with the bad.

There's definitely some Zeuhl influence here with the sporadic vocals, but both tracks are very much in the Jazz Fusion realm and very similar in style. The clear difference from early Magma is the presence of a violin right from the off which is the loudest instrument in the lineup. Keyboard also Jazz style. Vocals are lyric-free melody just occasionally adding to the ensemble rather than being a focal point in any way.

The two tracks are very similar, jazz jams with occasional bridges offered by the violin. The title track though does calm down in the middle for a short 'Pink Panther' style section from the bass + violin before picking the jamming back up again.

Worth ten minutes of your time for a pretty decent bit of jazz fusion but if you're looking for a hidden gem of Zeuhl nothing to see here.

1. "Tango Panache" (6:18) very nice playing with a very engaging structure and melodies--sounds a lot like Al DiMeola and NARADA MICHAEL WALDEN. (9/10)

2. "Raspoutine" (5:56) more in the WETHER REPORT wheelhouse, there are some strong keyboard foundations here despite the Corrado Rustici-like guitar lead play. The bass and drumming sound and feel so close to the WEATHER REPORT style. Even the main melodies scream out WEATHER REPORT. Nice electric piano work. (8.5/10)

3. "Theme Pour Un Swing Imaginaire" (5:37) funked up jazz like STANLEY and AL were playing at this time. Great play by Dominique Dubuisson on the bass and by Michel Goubin on the keys. The dirty yet speedy guitar play reminds me more of Ray Gomez than either Al Di or CORRADO here. No, there is no Zeuhl here; this is all-out, funked up jazz-rock fusion. (8.25/10)

4. "Air De Famille" (3:19) opens with some more sensitive WEATEHR REPORT-like keyboard-dominated music within which drums and fretless bass play nice supporting roles while electric guitar tries to lead the way--though on this song Charles seems just a little out of sync with the other musicians--his attempts at John McLaughlin-isms either fail or are just off tempo. (8.25/10)

5. "Ode De Mars" (5:23) starts rather benignly before clavinet, bass, and drums bounce into something a little more lively at the end of the first minute. Once the tempo and structure are established and Michel is doing his magic at filling the sound palette, guitarist/brother Charles tries to steal the show with his guitar play. But it's always Michel's keyboards that seem to own the heart and soul of the music. Charles does reach some nice heights in the fourth minute, but Michel is so smooth, so effortless, so cool! (8.75/10)

6. "Aux Images" (2:41) some pretty Chick Corea-like piano sets up and maintains the foundation of this song well into the second minute while other key boards and percussion instruments have joined in and have added their magical little embellishments. Nice piece; probably the best song on the album; definitely my favorite. (5/5)

7. "Amphitheatre Magique" (6:45) a solid song in the style of the slower, more steady-paced Chick Corea/Return to Forever songs, this song has the most hints at any remnants of Zeuhl the band may still harbor with some of the bridges and transitions as well as Philippe Goubin's fine drumming--also in the nice shift at the five minute mark-- but the final section is a return to J-RF. (14/15)

Four stars; an excellent addition to any prog lover's music collection--especially those lovers of 1970s Jazz-Rock Fusion. For those of you really looking for the Zeuhl be forewarned: There is little or no Zeuhl here.

1. "Foetus" (6:26) (9/10)

2. "Zed" (5:22) (8.75/10)

3. "Nuit sur le Golan" (2:24) May have been relevant in the mid-1970s; not so much now. (3.25/5)

4. "Ballade" (6:24) opens like a Japanese lullaby with vocalese and violin and tuned percussives before the whole band joins in at the 2:15 turning it into some veritable jazz-funk-tastics. (9/10)

5. "Hymne" (2:05) sounds and feels a bit Canterbury-ish. (4/5)

6. "Loolitt" (3:11) has Zeuhl written all within it. Electric piano, straight time drums with lots of flourishes, chunky (though rather sparsely included) bass--and then electric violin and guitar. (9/10)

7. "Cedille" (6:00) a gorgeous little collection of notes opens this sad yet beautiful piano-based excursion. There is almost a spiritual insistency in the melody--not unlike Bill Evans, John Coltrane, John McLaughlin or David & Steve Gordon might use. (9.5/10)

8. "Laure" (4:39) opens with a melody played on electric guitar and supported by flurries of whole-band crescendos sounding like it came from one of Santana's jazzy albums. By the time the song finally establishes itself in its fullness around the 1:20 mark, we're still not quite sure where the Goubin brothers are taking us. This is jazz fusion, not Zeuhl. Until 2:25. Jean-Luc Ponty-like violin and melodies and interesting guitar & keyboard chords work their way in and out of this odd but, ultimately, beautiful song. (9.5/10)

9. "Cycles" (2:21) sounds like something between early Mahavishnu Orchestra and The Allman Brothers--only gone horribly wrong. (3/5)

4 stars; a very good and certainly interesting and enjoyable ride through the fringes of 1970s Zuehl.