NEGATIVE TOE

Strasbourg's eccentric and eclectic Zeuhl/avant garde/RIO "ensemble" (more like a small orchestra!) have produced a sequel to their 2011 "soundtrack" to an imaginary alien space invasion. The band has matured as both individual instrumentalists and as a cohesive collective. The sound engineering is amazing--one of the best I've ever heard-- and the story and even the masterfully crafted music continues to employ an extraordinarily high degree of humour. I find myself laughing and crying within the same songs as we follow the latest installment of the alien Schn'rgls' conspiratorial encounters with Earthlings

1. "Orteil n'gatif--Once Upon A Time In The Galax-cheese" (3:13) opening with a joyful, confident announcement of the band's incredible precision, new maturity, and sci-fi story to come, percussives and staccato syncopation introduce the story before the music fades into a low, ominous foundation for the eerie "radio" communications that follow (the Schn'rgls have been encountered!). Masterful intro! They've got my attention! (4.5/5)

2. "Fecondee par un extra-terrestre" (15:10) opens with 45 seconds of Zeuhl-like insistence before everything turns to a gentle Latin rhythm-based harp-based section. Cool! A minute later, it switches as other band members join in, then turns more jazzy as the horns join in during the third minute. Another shift at 3:30 presents an adorable and pretty "wuah" sound that sounds like a cute alien fart or baby burp (the birth of "El Pulpo"). When the band reunites in full force at the end of the fourth minute, it seems like the outburst is totally jovial, even celebratory. At the end of the sixth minute another shift employs long, deep bass notes, steady drums, electric guitar soloing (which is rare) and all kinds of horns and percussives interspersed. A minute later, things quite down while very delicate play from keys, xylophone, harp, and oboe (and later flutes) very slowly, very gradually build in force and volume. this is gorgeous! By the time 9:45 rolls around and the horns unite in sectional bursts we think it's culminating--but, no! Another lull while cymbals, touch-guitar chords and winds present yet another variation on the theme. This is amazing! The compositional and performance skills on display here are utterly inconceivable! Like an orchestral composition! At 12:30 there is another radical tempo and stylistic shift while woodwinds seem to be "tuning" in the background, the bass and rest of the rhythm section (which is HUGE!) gel into a very Zeuhl-like sound and style. Horns carry the melody forward while harp and vibes fast-weave beneath, just above the rhythm section. Amazing! (10/10)

3. "Gros Bouquin" (11:11) Opens with some full band chord hits before quickly settling into a funky-jazzy rhythmic sound for vibes and flutes to present a fast-paced melody. At 1:15 everything quiets down while flutes and other high winds present an airy space. Then we burst back into the bass-led Caribbean funk so that horns can have their solo time. Trumpet takes the lead for the next minute while bass and harp provide the steady foundation. Drums and multiple hand percussion play along though very much in a simplistic supporting role. The song is supposed to represent a musical rendering of the process of extracting the sexual energy from rabbits in order to empower the Schn'rgls' secret weapon, the Negative Toe. (8.5/10)

4. "The Lament Of Pr. Frankenschn'rgl" (9:11) a slow, methodically-paced song with lots of space and lots of staccato notes produced in small, steadily paced packages from a wide variety of instruments including some from Oriental traditions. This one also has nicely arranged choral arrangements (sung in English!) professing the Schn'rgl military scientist's doubts, regrets, and worries. Such a simple and pleasant song, this in great contrast to the frenzy of multiplicities that was song #2. A great display of control and restraint--both in composition and especially in performance. Mathematically I'm sure this song would be quite interesting to study. The final 90 seconds begin to exude some of the insistence of the Zeuhl world in both vocals and drums and bowed bass--and finishing off with a little crazed cacophony--which is a perfect lead-in to the next song. (9/10)

5. "Skwitch" (14:47) opens with multiple instruments contributing to a low end dominated, ominous opening. At the two-minute mark things quiet down--as if the protagonists are trying to hide or be unnoticed--while retaining the creepy tension from the opening. At 4:10 we again switch tempo while the same delicate instrumental weave re- establishes itself--this time with hand percussion, harp and vibes providing the filler. At the end of the sixth minute the music drops out leaving some very sparsely populated guitar, harp, bass, and creepy trumpet hits while a creepy monster-like human voice vocalizes noises not unlike those of the trumpet. Well into the eighth minute, the horn solo becomes far more "normal"--jazz-like--but then it is suddenly submitted to some very odd under-water- like muting effects (elephantine) while the rest of the band, formerly quiet and reserved, begin to rise up and "swallow" the trumpet within their methodic tapestry. At 9:57 everything stops. Silence. Then very syncopatedly- spaced staccato hits from a variety of instruments gives the sound and melody a stark, almost "disappearing" feel. Horns and harp allow for some feeling of return to occur. Boisterous bass-end bursts seem to be on the verge of disrupting all flow of the base-line tapestry--until they all merge at the beginning of the thirteenth minute. The final two minutes seem to be telling the story of the monster's demise and death. Overall, this is a great mid-tempo song with frequent time changes and polyrhythmic weaving of the multiplicity of instruments. Something about the mood, melodies, and intricacies of this song make it my favorite--despite the fact that it's supposed to tell the story of the future destruction of one of my favorite places on Earth, la cath'drale de Strasbourg, by a cybernetic laboratory elephant. (9.5/10)

6. "El Pulpo" (3:19) oboe, guitar play out a sad melody over harp and bowed double bass before vibes and horns come in to present their antiphon of support. Then at 1:25, all music fades away. Empty space is then gradually invaded by low foghorn-like horn bursts while seaside sounds and human whistling and other pseudo animal sounds are disbursed throughout the soundscape. I guess it's supposed to be the cries of El Pulpo as he and his mother escape to South America by sea-going vessel. (4.5/5)

Five stars; definitely a masterpiece of modern progressive rock--though this album feels as if it belongs more on the Avant Garde/RIO spectrum than the Zeuhl they were associated with in their previous album. Great to have Pierre and company back! And mega-kudos to the engineering/production team! AMAZING sound reproduction!

3.5 stars. I'm bumping this one up. CAMEMBERT were a six piece band out of France who released two studio albums before calling it a day. The core trio of this band have gone on to form a new band called OIAPOK which continues in the CAMEMBERT tradition. Lots of cheese! Clearly GONG was a huge influence on these guys with their concept about aliens and cheese(not weed). Their debut "Schnorgl Attahk" is the better album of the two as it even incorporates some zeuhl to the proceedings. Instrumentally it had Frank Zappa's jazz period all over it. All I could think about was Zappa with all the vibes, xylophone and multiple horns.

"Nagative Toe" continues with the science fiction concept but the zeuhl has been pretty much taken out, not the Zappa though. Even more horns on this one with all the guests involved, and even the six musicians play more instruments on here. The only lineup change is a new drummer, but the old one is here as a guest, credited with the drum arrangements on four of the six songs. I like how the album starts with that dark atmosphere and space transmissions. Alien voices(gasp). The second track is over 15 minutes long, while the fifth song is almost 15 minutes long, both taking up the bulk of the 57 minutes. There's a SANTANA vibe with all the percussion sounds on that second tune, but man this one is all over the place.

I'm not big on the third track with all the horns and beats. It's more Zappa-like during the second half. Not big on the next one "The Lament Of Pr. Frankenschnorgl" either but man "Skwitch" the second last track that is almost 15 minutes long, makes up for it. The way it builds so slowly and those powerful sections that come and go. It's dark and experimental late. The closer "El Pulpo" opens with the sounds of sea gulls and waves in an ominous atmosphere before we hear someone whistling. It's like we are at the docks. The last sounds of CAMEMBERT right there.

A very low 4 stars, but get the debut "Schnorgl Attahk" if you can, especially if your a Zappa fan.