| $17.64
new to stock as of
november 16th, 2010
threads:
psych-prog
guitar-themed
free-improvisation
sound-art
analogue-synth
1970s-electronic
nww-list
musique-concrète
electro-acoustic-composition
| | |
| | | bichon (france) #bichon 005 lp fille qui mousse “trixie stapleton 291 • se tair pour une femme trop belle” long playing record - cantate disparate (5:44)
- transcription interrompue (0:55)
- fraîcheur et amalgame (2:00)
- esplanade (8:10)
- résistance instinctive (2:32)
- quatriéme épisode (1:02)
- transplantation (3:05)
- antinomique (3:04)
- l'eau était vitale (8:27)
| november 2010 release ; here we go :: out-of-nowhere (no ... where ... !!!) reissue of this, one of my all-time favorite records & pretty much the pinnacle of the obscuro psych / sound-art nexus !!!
recorded in 1972 by the trio of henri-jean enu, sylvie peristeris, and jean-pierre lentin ::
... then issued the following year on the beyond-legendary futura label (home of free jazz sides by françois tusques, jacques thollot, jef gilson, michel portal, barre phillips, anthony braxton ... and assorted avant-gunk by jacques berrocal, red noise, semool, horde catalytique pour la fin, etc) in a “test-pressing” of 50 copies (50 !!!) this is that unusual confluence of both hen’s teeth rarity and unequivocally perfect music that justifies the assorted mouth-breathings & whispered raves that have surrounded the record since its inclusion in “the list” published in/on the first nurse with wound record ...
starting with a wash of reverbed-out cymbals (which i borrowed wholesale for my own “schöner flußengel” lp, truth be told) the trio launch into a 6-minute “power trio” jam that’s equal parts lard free & guru guru (sans the studio blur) ; all well & good, but for my money the record really heats up with the remainder of the side, first with a nice “automatic” vcs3 piece, then a nancarrow-esque “all hands on” piano piece ... then a deranged take for detuned guitar & tympani ... then a gorgeous text & concrète number leading into a stretched out tape piece constructed of vocal groans (akin to the more recent pierre-andre arcand material) ...
the b-side goes even deeper, continuing in the same vein ; short, entirely experimental studio pieces making full use of traditional “tape music” techniques (although worth mentioning is the acoustic, gurgling hurdy gurdy solo near the end) before the trio brings it home with a quartet jam (adding some psychedelic violin soloing to the mix) ...
nice, well-mastered lp pressing ... entirely essential ; highest recommendation !!!
ps. really hard one to excerpt as so much of it is great ; so i’m just giving you the majority of the a-side (after the opening jam, right when the shorter vignettes begin) :: enjoy !!! |
| | 1st time ever readily available vinyl appearance of this mythical release - the rarest entry on the legendary nurse with wound list (which is saying something) -via the bichon label.
french import. ltd. ed. of 300
fille qui mousse ("girl with froth"??) is one the most mythical albums to be released(?) from france. recorded in 1972, it was issued in '73 (evidently only as a test pressing in an edition of maybe 50) by the legendary futura label.
often referred to as the french faust, fqm's album mixed collage, psychedelic rock, surreal poetry, and organically tapped noise purity with the absolute best of experimental 70s rock-and-beyond. one of the essential reissues of the 70s rock underground.
straight off, we plunge into that faust structure ... riffing with a psychedelic bent, hints of gong too ... we move into bizarrely constructed patterns of percussive sound and chopped-up rock music, and just as a musical focus takes shape it disappears. a poem, recited by a girl, over an urban landscape populated by numerous barking dogs then gives way to an intensely strange mangled web of sound that's almost brain numbing. and, yet more in the way of strangeness is a piano based piece that recalls some of roger doyle's early experiments. the only actual song has the most bizarre lyrics (in english) and is followed by an excursion in distorted and processed guitar. next is where the folk music comes in, but even with gypsy violin fqm's interpretation of folk is strange and twisted. finally, we return to the psychedelic jamming that opened the album, but with a jazzier edge, ending the album perfectly. |
|
|
|
