CHRONOLYSE

Second solo album from the future ex-Heldon leader, Chronolyse is a surprisingly accessible album that was recorded in the summer of 76 (and therefore BEFORE this solo debut Rhizosphere) but not released until 78, around the demise of Heldon. Indeed Chronolyse sees the Heldon members of Didier Batard (bass) and François Auger on drums and percs: the result is a very Tangerine Dream-like soundscape and if it wasn't for Pinhas' typical guitar, you could almost believe that you were in Berlin. Coming with B&W televised artwork, this album was released on the Cobra label and has been reissued on CD in the early 90's on the excellent Cuneiform label.

Opening on the seven variations of the theme of Bene Gesserit, we are in a typical TD/Schulze mid-70's realm where the sequencers are now fully developed and provide some rhythm and the whole thing is much less brutal than the Heldon material. The seven pieces pass by fairly quickly, each providing a different ambiance, but all are the result of Pinhas alone on his Moog, as is the Duncan Idaho piece that fills the rest of the album's A-side, well in the .same sonic galaxy. This first side is well recommended to Rubicon, Blackdance and Stratosfear fans.

The flipside is taken up by the sidelong 30-mins Paul Atreides track, in which the other two Heldon members help out, and allow for Pinhas to pick up his guitar and play us some of his Fripp-inspired solos The live-recorded track starts out much like the other two, with lots of moog, but consistently crescendos to add bass, drums, guitars and loads of Mellotron. But what one has to listen to mostly is Pinhas' low and insidious guitar doing slow painful wailing throughout most of the length of the piece. Despites a few lengths, this is great stuff that should be discovered by all progheads, especially those fascinated with 70's electronic prog.