MUSIQUE POUR L'ODYSSÉE

Art Zoyd's second album picks up where the debut had left things to rest and is seen as their crowning achievement by many specialists. For this album, the group is joined by two members of Univers Zero, Daniel Denis on percussions and Michel Berckman's on oboe and bassoon.

The sidelong title track is an impressive, solemn, very tense piece of music with war-like ambiances, where once again main composer Hourbette is alternating Bartok, Stravinsky with later XXth century modernists (not quite Stockhausen but there are moments where atonality is very close), but the results are again not far away from Univers Zero, which is hardly surprising since both Denis and Berckmans are in the fold. Great dynamics, sombre ambiances, an almost totally acoustic sound (bar the electric bass), Kobaian-like tribal chants are on the main tour programme of this musical Odyssée.

On the other side of the album is Zabotzieff's first composition for the group and it is clearly homage to Magma (referring to the poem Terre on the back of one of their early albums), as in the second movement he grabs his bass guitar and gives one enormous bass guitar thrashing that can only make you think of Magma bass-thumping. Lettre D'Automne is more reflective and seems to be an answer to Stravinsky's Sacre Du Printemps (Spring's Rites).

Certainly as good as its predecessor, this album is yet another outstanding album that every classical music fans must hear, yet Art Zoyd's work is hardly easily accessible, and is only recommended to RIO and Zeuhl fans.

4.5 stars. I've been trying to decide which of the first two ART ZOYD records I like best, and it really is a toss up for me. Too close to call right now. Both have their different strong points, and both are must haves as far as i'm concerned. It's really cool as well that UNIVERS ZERO members Daniel Denis and Michel Berckmans play on here. Interesting as well that they would release "Heresie" the same year this record by ART ZOYD was released.

"Musique Pour L'Odyssee" is the side long opening track. Lots of tension to open as it begins with heavy bass and violin then another violinist joins in. The tension subsides after 2 minutes as horns and other sounds come and go. Lots of intricate sounds 3 1/2 minutes in, especially horns. A calm a minute later. Vocal chants with sax blasts after 7 minutes. Another calm 8 1/2 minutes in. More horns with chanting with deep bass lines and violin 10 minutes in. These guys are amazing. Yes it calms down again, this time 12 minutes in as we get lots of atmosphere. The intensity starts to build with violin and horns. Another dark calm 14 minutes in and then it's building again. Chants after 16 1/2 minutes to the end. Incredible ! Such a dark and intense track.

"Bruit,Silence-Bruit, Repos" is a brighter track for the first two minutes and then the song stops as violin comes in slowly, although the tempo picks up. Lots of violin after 4 minutes as we get some fat bass and horns. Aboe from Michel Berckmans before 6 minutes. Certainly after the first 2 minutes this song becomes dark and at times atmospheric. A frantic outbreak after 8 minutes. More fantastic bass and violin 9 1/2 minutes in. "Trio Lettri D'automine" really has it's focus on the violins as they almost echo at times, they really dominate this dark and intense track.

I really like the cover art for this one as well. Dark, intense and stormy just like the music.

After the pleasant initiation offered by their debut, Art Zoyd continued with equally convincing bravura on Musique Pour L'odyssee, a challenging chamber rock album with a small classical chamber ensemble, forceful rhythmic electric bass and crazed vocals. More then once, those elements bring Magma to mind, but apart from some sparse percussion there is no drumming whatsoever on the album.

The title track is a storming piece, featuring 17 minutes intense and dark music. The musicians build up a chilling tension that reminds of the modern classical composers Stravinsky and Bartok. But it's not blind worship, the integration of the Zeuhl elements make it into something very new and refreshing. The composition is superb.

Two relatively shorter pieces complete this concise album. Bruit, Silence-Bruit, Repos continues the Zeuhl attack on Stravinsky and nicely follows the structure promised by the title. Frantic noise, quiet countered by nervous atonality, and a relatively peaceful ending. The dreamy Trio is my favorite here. The repetitious violins give it a minimalist Philip Glass touch but the dynamic composition and touching melancholy easily surpass Philip Glass for me.

An amazing album opening with two brilliant compositions and closing with a masterpiece. Recommended listen for all lovers of early modernist composers and Magma.

First of all I have to confess that this is my first approach to Art Zoyd and to their music and I have listened to this album only few times.

My very first impression is that the contamination with classical music is as strong as in Magma, with the significant difference of being contaminated by chamber music and contemporary classics more than by opera, unlike Magma, however the epic side long track which gives the name to the album has a lot of Zeuhl. In particular I have enjoyed the second part of the epic with slow tempo, strings and brasses in a smooth crescendo and obsessive percussions. Is this really inspired by Odyssey? Giving that the poem is full of very dark moments I think yes even if the "Hey" cried by the choir at the end let's us suppose a live crew instead of the hero's homecoming and the final battle in his house.

"Bruit, Silence, Repos" is able to give me the same sensations of the best Magma albums and in addition the classic element is even more relevant. When I sometimes turn to classical music, "The Rites of Spring" is one of the things I listen to more often and I see many contact points specially after the short pause of silence after 2 minutes. This track gives also the opportunity to Zaboitzeff to show how skilled he is on bass other than on viola. The thin flute which follows is incredibly dark. Incredible in the sense that an instrument which in classical music is often used to represent birds and nature here sounds dark. The violin and bass part which later leads to a short uptime section with brasses is the highlight of this track.

Trio "Lettre D'Automne" closes the album with 7 minutes dominated by violin and viola with a very "classical" structure. It's the most approachable of the three tracks but is in line with the others in terms of mood. I have a particular feeling when I listen to this kind of music. Have you present when you are relaxed, about to fall asleep but still awaken? Thoughts suddenly come and go as well as hypnagogic images. Your mind is ready to start a trip to a mysterious land full of soft colors.

This music (as well as Stravinskij) is able to put me in a state like this. If your mind is in the same conditions it's the right moment to listen to this "excellent addition".

With a couple of Univers Zero members in tow, you'd think Art Zoyd would win me over with this one - after all, I love the other major creepshow chamber rock act in town so why not the Zoyd? And it's true enough that the foreboding bass work and angry chants on this album are clearly well put-together - the chanting in particular, promoting the sort of rhythms Magma used to accomplish in their more martial moments - but despite all this the album remains one where I can look at it and acknowledge that it's a well-executed piece of work and yet I just don't feel anything when I listen to it. Three stars seems fair - it's worth a try, but be aware that it may fall flat.