(SUPERIOR VIADUCT/URUS RECORDS/DISJUNCTA RECORDS; vinyl only reissue, 2014; original release, 1975)
No matter how much you follow music, no matter how well you think you know a certain genre, you can always be surprised by something previously unfamiliar. I am a long-time devotee of ambient and electronica, always have been, but somehow Heldon escaped my notice. The French prog-tronica pioneers made a clutch of well-received discs in the ’70s, and founder Richard Pinhas has released a ton of discs under his own name since then, as well as various collaborations with Merzbow, Pascal Comelade, John Livengood and others. But until this reissue of their amazing 1975 album, ALLEZ-TEIA (their second effort), I’d never heard of either Heldon or Richard Pinhas. That’s a shame, ’cause this is amazing, hypnotic stuff. In the early to mid-’70s, new and powerful sounds were beginning to permeate the fields of prog and electronica. With European artists such as Can, Neu, Kraftwerk and Cluster changing the sonic landscape, the possibilities for modern music expanded a hundredfold. Brian Eno and Robert Fripp blew more than a few minds with their static early ambient explorations on NO PUSSYFOOTING and EVENING STAR, and that’s a good starting point to talk about the music on ALLEZ-TEIA. The opening track is even called “In the Wake of King Fripp,” showing the group’s reverence not only for Fripp’s early innovations on guitar, but his continuing sojourns with King Crimson, obviously one of the most important progressive bands of that era. Another track,”Moebius,” is undoubtedly named after Dieter Moebius, one of the founding members of German electronic pioneers Cluster.
That Fripp and Eno sound, particularly as heard on EVENING STAR, is overtly referenced here; no attempt is made to hide how much Heldon loves the evocative but sometimes brittle sound Fripp conjured, especially when Eno got ahold of those repetitive tape loops and put entrancing layers of twinkly synths below them. In “Omar Diop Blondin,” anyone but the most avid Fripp connossieur would guess it was the maestro himself playing here, so close is the patented Frippertronic sound to what’s going on; the song, in fact, is dedicated to the pioneering ambient duo. But Pinhas starts playing this hypnotic little 5 or 6-note repeating sequence that the showier electric guitar glides and buzzes above in flashy style, and then something genuinely unique results. I’m surprised by how nostalgic this stuff makes me for an era long gone. The 12-minute “Fluence,” a slowly building classic of ’70s sequencer/synth trance, has an organic purity to it that sucks you right in; it never calls too much attention to any of its components the way a lot of overproduced similar stuff of later decades tended to do. And “Saint-Mikael… ” (the title is actually much longer than that, but I’ll spare you from the unwieldiness of it), probably the penultimate track here, is just smashing, an intimate close dance between guitar and ambient synth that truly wants to make you float away in relaxed ecstasy. The surprising switch to dual acoustic guitars at roughly the 7-minute mark is wondrous; in fact, Heldon’s use of acoustic guitars on a few tracks is evidently something of a rarity in their early recorded work.
One thing’s for sure; this music deserves to be heard. Pinhas and company had not only the chops, but the understanding of what makes trancey instrumental music work: the mood created, the graceful interplay of the instruments (so important when you’re dealing with technology that can be cold or overly detached sounding), and good editing instincts. This isn’t a long album, and it’s actually quite a breezy listen; even non prog-tronica fans could enjoy it. Nor does it sound dated, even though its references are mostly from decades past. ALLEZ-TEIA is highly recommended for any fans of that early ’70s electronic music genre; it’s a work of great, to use a word King Crimson loves, discipline. And for me, an Eno and ambient fanatic, this disc was a genuine revelation. It’s something I look forward to hearing multiple times, and I definitely don’t always say that about reissues like this.