POSTAEOLIAN TRAIN ROBBERY

This superb debut album of COS can be called as one of important landmarks upon the Belgian Canterbury Scene. Pascale's colourful, delightful voices supported upon the sound grandeur created by other musicians of genius give us an invitation to an enjoyable madness party, and (not many reviewers can have a positive appreciation for their roots though) also the last four "old" songs exert energetic melody magnification. Very interesting their roots "The CLASSROOM" had already had definite fantasia, and the fantasia might have anticipated the new era named COS I imagine.

A reflective combination of Daniel's loud and pleasant flute vibes and Charles' quiet piano stardusts, following to an ill-matched introduction phrase, is obviously simple but remarkably powerful like Soft Machine, the vanguard in Canterbury Scene. And for me some acidity can be heard via the atmosphere under their freaky sound circumstance. Pascale sings as if she would read poetry, cry upon a curtain call, or chuckle like a cute kid ... actually her voices are not only theatrical but also charismatic. Jaunty and springy steps produced by the rhythm party (Robert, Steve, and Alain) should tighten and strengthen their quirky melody lines, which form the sound basis.

It's quite impressive and immersive they have created such an originality via intensive simplicity (a good example is Melanie's "Brand New Key" if I'm correct). So let me say one of my favourite tracks is the last "L'Admirable Amas Cellulaire Orange" almost only with Pascale's pretty voices and xylophone footsteps. Simple is great indeed.