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| 1976 Cobra, re 1995 Cuneiform Records |
New Age Guerilla Founded by guitarist and former philosophy student Richard Pinhas in 1974, self-described “elctronic rock” band Heldon are one of the most influential and idiosyncratic groups to emerge from the 70s French progressive underground. Pinhas, an admirer of Robert Fripp's ambient work with Brian Eno, recorded the first three Heldon albums in impromptu sessions with a varying cast of musician friends, processing his axe through a maze of effects devices. The result is trippy, droning “cosmic” synth music in the vein of contemporary work by Tangerine Dream and Klaus Schulze. Album #4, entitled Agneta Nilsson, added dark Moog bass arpeggios to the mix, but it wasn't until 1976 and their 5th full-length release that Heldon broke free from the ambient template and really came into their own. With a title like Un Rêve Sans Consequence Spéciale (“A Dream Without Special Consequence”), you'd expect the space-age baroque escapism of Jean-Michel Jarre et al, but the cover art, a kind of surrealist/futurist rendering of a steel mill, comes closer to visually representing the sounds contained herein. The 11-minute opener “Marie Virginie C.” greets you not with swelling, bombastic keyboard chords but with dystopian landscape of reverbed, arrhythmic metal percussion, broken synth bleeps and Pinhas's buzzsaw guitar noise assault. And when Patrick Gauthier's filthy Minimoog bass sets in at approx. the 2-minute mark and drummer François Auger settles into a nervous, steady groove, it starts dawning on you that this isn't really “prog.” It sounds like noisy post-punk with a heavy industrial bent as filtered through a 60s/70s freeform rock jamming mentality. That's right, ladies and gentlemen, the “rock” part of Heldon's “electronic rock” self-labelling ain't no joke! Pinhas unleashes some heavily treated bluesy guitar solos throughout the second half of the track, sort of like Manuel Göttsching with balls.  Synth 'n' Roll: Richard Pinhas of Heldon The following “Elephanta” is just as interesting. A percussion-driven piece composed and mostly performed by Auger (Pinhas only contributes some synth), it starts out a bit like Herbie Hancock's Headhunters reimagining of “Watermelon Man,” with some African percussion. But instead of morphing into groovy jazz-funk, it piles on more and cymbals, drums, kalimbas and other things you can hit over its 8:30 duration, some of which run counter to the rhythm, culminating in a a dense, ethno-industrial cacophony. “Perspective IV Ter Muco” (a bonus track on the Cuneiform reissue) really pushes the bluesy-rock-with-electronics angle to its absolute limit but doesn't seem to fit with the mood of the rest of Un Rêve... and “MVC II” is a slower, funkier, creepier postlude to “Marie Virginie C.” These two shorter tracks are entertaining enough but they are merely the hors d'oeuvre to the album's second centerpiece, “Toward the Red Line,” a 15-minute exploration for synths, drums and electric cello (played by Magma bassist Jannick Top). This one is much closer to Schulze and T. Dream than the preceding music, but done in Heldon's trademark bleak cyberpunk style. It opens with tidal waves of low-end Moog arpeggios that clash violently and occasionally coalesce into temporary grooves. Auger's drums fight to break out from beneath the molasses but never quite manage to. This is anti-ambient. Where other electronic cosmonauts of the 70s dreamt of glitzy high-tech space stations, Heldon's future is a hellish, inhuman wasteland. The reissue on the Cuneiform label reviewed here adds two bonus tracks, the aforementioned “Perspective IV Ter Muco” and a live rendition of “Marie Virginie C.” that ditches most of the lengthy atmospheric intro and jumps right into the action but feels, interestingly, less aggressive than the studio version. |
