- Joue Les Tours 22-11-91 (Duncan Lane)
- Faches-Thumesnil 07-12-91 (Steve Ashworth)
- D’Epreuves D’Amour (Seventh AV III) (Jim Ross & Ehn Aïmaah)
- The Golden Years(by the UK music press)
- Ork! Update
Mon 11-11-91 Théâtre Barbey, Bordeaux
STELLA VANDER (solo)
Sun 29-12-91 Passage Nord-Quest, Paris
Mon 30-12-91 Passage Nord-Quest, Paris
These final two shows of 1991 were not OFFERING concerts. These gigs were therefore STELLA VANDER’s first “solo” gigs since the late sixties. Stella was ably supported by Christian and Julie Vander with Lydia Domancich (ex PAZAPA), Pierre-Michel Sivadier (keyboards), Philippe Dardelle (bass), Isabelle Feuillbois (vocals), Alex Ferrand (Saxophone) and a percussionist. Oliver (Fromentin) says that they played “HELLO”, “INNOCENT”, “EHN DEÏSS” and traditional French childrens songs. A dormant project of Christian’s is to record an album of traditional French Christmas songs sung by a childrens choir.
The Evry concert was moved to a different venue near Paris
TRIO VANDER DATES
12-03-92 DUC DES LOMBARDS, PARIS
13-03-92 DUC DES LOMBARDS, PARIS
14-03-92 DUC DES LOMBARDS, PARIS
22-05-92 LA COURNEUVE, near PARIS
OFFERING / MAGMA TOURS
Paris – Three OFFERING concerts
16-04-92 Théâtre Dunois, Paris
17-04-92 Théâtre Dunois, Paris
18-04-92 Théâtre Dunois, Paris
South of France – A full concert of MAGMA pieces performed on piano and vocals only. THis could be similar to the acoustic matinee concert in bordeaux on 05-12-90, which was probably the highlight of that tour.
July 1992 Onwards
A series of special concerts later in the year, exact dates and locations not pencilled in at the moment
Does anyone know if there are still plans for concerts in VICHY, BEDARIEUX, SAINT DIE and PERIGUEUX?
The Passage Nord-Ouest is a new venue at 13 Rue Faubourg, Montmartre, 75009 Paris. They have recently had several interesting concerts and will hopefully be staging future Zeuhl gigs.
MJC – Joué Les Tours 22-11-91
MAGMA. Once heard and seen – hooked.
The 1978 Rétrovision show with its cabaret ‘variété’ presentation seemed like the end, at first. But under that brash vulgarity, the music entered the bloodstream, undetected until the following day, casting its magic, creating hunger for the next gig that night; a familiar pattern. Repeated Bobino 1981, Germany 1983, Paris Forum 1984, Bloomsbury 1989… still happily addicted.
I’ll try to drop the verb-less terseness and analogy and talk about the gig. In short, I didn’t like it. We hadn’t planned to travel to the next gig the following night, and for the first time, I had no regrets or any temptation to catch the set again.
OFFERING started with a heavily abridged version of ‘Another Day’. This caused me no grief. This piece peaked about five years ago – before the recording – and since then its been getting more and more weary. Then followed five songs from Stella Vander’s new CD. Nice, pretty melodies, sophisticated arrangements, with a sweet and smooth Jazz nightclub feel that’s not my sort of thing. After this, a low-key tympani stick drum solo from Christian Vander, followed by ‘Anahë’. This featured some pleasant sax from Alex Ferrand with a touch of Albert Ayler grief-stricken wailing.
The whole set was downbeat and dreamy to my ears and soul. Still addicted, but not so happily at the moment.
CHRISTIAN VANDER / OFFERING
CENTRE MUSICAL LES ARCADES, FACHES THUMESNIL, LILLE.
THE BAND CONSISTED OF:
PHILIPPE DARDELLE – DOUBLE BASS
PIERRE-MICHEL SNADIER – KEYBOARDS
ALEX FERRAND – SAXES, VOCALS
MARC DELOUYA – DRUMS, KEYBOARDS
ISABELLE FEULLEBOIS – VOCALS
STELLA VANDER – VOCALS, KEYBOARDS
CHRISTIAN VANDER – DRUMS, PIANO, VOCALS
LOCATION – HOTEL CLIMAT RECEPTION, FACHES THUMESNIL
TIME – 18:00
Problem No 1.
Paul, Alistair and myself studied the map of Lille and couldn’t find the venue. We developed intricate plans as to where to direct the taxi driver. When he arrived, he had a better map than ours and solved problem No 1 easily. Then it was onto the Cafe Nordic for Coffee, Carlsberg and Croque Monsieur to protect us from the sub-zero temperature.
Problem No 2.
On arriving at Les Arcades, we were horrified to discover that seats were allocated on a reservation basis and there were none left. We then discovered that if we hung around, we might be able to get standing places. At the designated moment, Paul and I battled our way through the other unfortunate punters with tactics that would have impressed “Stormin’ Norman” to get our tickets. We ended up on a cramped staircase some three metres from the stage.
Problem No 3.
This was for OFFERING. We had heard that just before the tour started, Emmanuel Borghi had left the band. This departure, along with the defections of Jean Claude Buire and Pierre Marcault must have given Christian a few headaches. Read on for his solution.
The set opened with new intro tapes; partly taken from the old ‘Swans and Crows’ tape and mixed in with something sounding Far-Eastern. Then came an abridged version of ‘Another Day’, which was very dynamic. Next was ‘Hello’ from Stella’s new CD release; a very haunting piece. At this point we realised that the vacancy for pianist was to be shared between Christian and Pierre-Michel Sivadier, and a good job they made of it too. After Isabelle Feuillebois’ ghostly wail, Stella introduced the next part of the concert as a showcase for her new material from the CD. Thus followed ‘J’ai vu le Roi’, ‘Ronde de Nuit’ and ‘Ma seule enfant’. I wouldn’t wish to see these songs as permanent features in an OFFERING concert, but I’m glad I had the chance to see them live – once! All very pleasant stuff, well played and giving Isabelle a chance to be front stage for her singing; a wise move.
After Stella’s solo vocal (with tapes – spooky!) on ‘Nature Boy’, Christian launched full belt into an incredible (even by his standards) drum solo. You could see and feel the awe of the audience as he really let rip with more speed, power and dexterity than usual. This was the highpoint for me of the whole show – totally breath taking. ‘Anahë’, featuring the saxophone of newcomer Alex Ferrand was next. I did have some difficulty in adjusting to hearing this instrument in OFFERING, but Alex is an excellent musician and took his part well.
The next piece was ‘Les Cygnes et Corbeaux’. I was delighted to hear this piece again as it is one of my favourites from the OFFERING years. Since I last saw this performed it has undergone a few changes. The mid-section now features a lot of Jazz based improvisation and gave everyone, especially Alex, plenty of room to do their thing.
The inevitable applause and encore followed: ‘Purificatem’ in which Christian sings MAGNIFIQUE and EK GLAO (Kobaïan for “THE BLOOD”) repeatedly. The piece is based on a two chord riff and allows Christian a lot of space to perform his own brand of vocal improvisation – and he did very well considering he had to play piano also. The piece is very fast and energetic and the nearest thing I heard that night that resembled MAGMA.
Overall, it was a fine concert. I’m not too sure about the move to a more mellow sound as featured on Stella’s section, or about the creeping Jazz influence caused by the saxophone, but I don’t think there is a better live band to see than OFFERING.
(SEVENTH A VIII)
by Jim Ross
Ten tracks make up this the first STELLA VANDER CD, entitled D’ÉPREUVES D’AMOUR (IMPRESSIONS OF LOVE). Three of the songs will already be familiar to those amongst you who have seen or heard OFFERING live. These being ‘COLORS OF THE RAINBOW, ‘HELLO’ and ‘ANAHË’.
The majority of the album has Piano accompaniment only, provided by Christian Vander / Pierre-Michel Sivadier and Emmanuel Borghi. The exceptions are ‘ANAHË’ which has solo sax by Alex Ferrand, ‘COLORS OF THE RAINBOW featuring percussion by Ogun(?) and ‘INNOCENT’ has Stella playing flute, with percussion provided by Christian, Isabelle Feuillebois, Philippe Bussonet and Julie Vander. Isabelle and Julie provide backing vocals throughout the album.
Stella is in fine voice and the versions of the already familiar material are sufficiently different to still be of interest. Sound quality all through the CD is perfect; the arrangements are intelligent and sympathetic. This release will appeal most definitely to OFFERING fans and bring Stella her own following in Europe, where apparently it has received a very favourable reception from the music press.
(SEVENTH A VIII)
by Ehn Aïmaah
1. The first track J’AI VU LE ROI’ was pleasant and catchy. Jim’s Favourite, but I did not find it riveting.
2. Next comes ‘LA NUIT DU CHASSEUR’ – a short version of the piece that Stella and Guy performed in 1987 from the1955 film by Charles Laughton (The Night of the Hunter).
3. Pierre-Michel Sivadier wrote the third song ‘MA SEULE ENFANT’ which is more intense and the album began to pick up in strength as Stella’s impressive (and yes, erotique) vocals lead up to a climax.
4. ’RONDE DE NUIT’ comes next – penned and played by Christian with Julie and Isabelle on backing vocals. Before looking at the CD booklet, I had been expecting this piece to be the one we had earlier referred to as ‘LA NUIT’ – but Nono, this was a Ronde. It reminded me of some of Carl Orff’s later work that he wrote for children to perform. This one is very likely to become one of my favourite things. It also brings back fond memories of the acoustic MAGMA set that the choir and pianists played at FNAC in Bordeaux in 1990. Quite entrancing. (The basic theme was used as part of the intro tapes in Soissons & Beauvais in 1991).
5. The subsequent track ‘HELLO’ is pretty much the same arrangement as performed on the 90/91 tours – it is good to hear a clear version of it at last without wind and hiss. Enchanting and spellbinding. I loved it.
6. ’I HAVE A LOVE’ – but I’m afraid this is not it, I dislike this song intensely.
7. ’ANAHË’ – This track is just magnificent. Again it was familiar to me from the 1991 tour, but this more refined version has the edge and the addition of Alex Ferrand on saxophone is a nice touch. By this time I had noticed that several songs end abruptly and thought it would have been preferable to segue them into each other.
8. ’COLORS OF THE RAINBOW’ – Another stunner! This beautiful little song by Lonnie Liston Smith is superbly performed here by Pierre-Michel, Ogun (who?) and Stella – but again, the mysterious pause at the end where a shorter interval or cross fade into.
9. ’NATURE BOY’ might have been better. This is another acappella piece that Stella (with Guy Khalifa?) sang circa ’86 or ’87. This time it is accompanied by white noise imitating the wind and hiss – reminds me of the Mimi Festival – if only CD players could project gnats and midges too, then the atmosphere would be complete.
10. ’INNOCENT’ this again is like a choral OFFERING piece – a simple ostinato chant that sticks in your heart for ages afterwards, just like “HALLELUJAH” did when MAGMA chanted that over and over again in ’74.
Altogether then 51 minutes of mostly haunting music – just as I had anticipated for all those years. But what happened to the planned recordings with Lisa Deluxe and Patrick Gauthier? Could they be in the can waiting for a future project perhaps? I hope this album becomes the hit record that the Vander’s truly deserve and more tours and albums follow soon after. There is almost no discernable MAGMA influence in this album – just some of the most lyrical aspects of OFFERING. Buy it you’ll love it! – Yes Stella, we DID enjoy it! The CD booklet contains all the lyrics and personnel data with a suite of photographs of the musicians when they were young. Christian looked very cherubic, but was probably even then contemplating the future (and all variations thereof).
THE GOLDEN YEARS
PARLEZ VOUS MAGMA?
Steve Lake (Melody Maker 15-12-73)
CHRISTIAN VANDER sits in the shadow of a room in a Kensington Hotel, an almost black figure in the darkness of the chamber. Black T-shirt, black jeans, black shoes and black hair framing a dark complexioned face. You can’t tell where black ends or begins, he says. And besides, black is the colour of the state of the world right now.
It’s now dusk on Sunday. The first time I saw Christian Vander was Wednesday last. He was behind a drum-kit at the Marquee Club, flanked by the rest of his band. But this wasn’t the routine Marquee bop. This was Magma, and I have never, NEVER seen anything like Magma. Records in no way leave you prepared for the actual live confrontation with this cataclysmic ensemble.
Try to visualise this: a dimly lit stage, and dotted around it a number of grim faced black-clad figures, one of them a beautiful girl, shrouded in a flowing cape. Another is a tall, slim bespectacled black man, who brings a serpentine contrabass clarinet slowly too his lips and begins to play. A bald-headed bass guitarist, his instrument “Cello” tuned, pumps out intimidating, vicious lines. A bearded man, with exceptionally long hair, opens his mouth and begins to sing. So does the girl. But if you were expecting rock and roll vocals, well, forget it, you came to the wrong place. This, this is – opera, isn’t it? The male singer is thrashing and clawing at the air, a rich tenor flows easily from his mouth. Several octaves up the girl sings along with him.
But the drummer, his countenance an extraordinary study of perpetually shifting leers and sneers, eyeballs turned upwards so all you can see are demented whites, suddenly changes into a furious march tempo, sticks blurring off the snare. Jeezus, what is going on? This is military madness, or a Covent Garden nightmare. Alien syllables cut through the smokey air. Clientele looks puzzled. What language is that? German? Some forgotten Slavonic tongue? Ah no, mes amis, this is Kobaïan, and the reason you’ve never heard its like before is simple. Christian Vander made it up.The music powers on. There’s much use made of repetition, and the strange words are chanted over and over with ever increasing intensity, until the group’s total emotional output becomes almost unbearable.Vander whips at the cymbals with slashing savagery. Twin keyboards tear around the throbbing bass root-notes of Jannick Top. Now the chanteurs are screaming. The clarinettist is screaming. Vander is screaming. God help us, the whole place seems to be screaming, a massive primeval cry of anguish. Crash. Silences. Stunned applause.
“Mekanïk Destruktïw Kommandöh” says the singer, Klaus Blasquiz. Still there is no trace of a smile. Magma begin to play again, like the stirring from slumber of some great beast. It’s as though they are trying to redefine heavy music. I’ve never heard the horsemen of the Apocalypse, but I imagine that Vander’s drumming is a pretty fair approximation of otherworldly galloping hoof beats. Sheer energy! What passion! Still the voices chant and shout.”Hortz fur dëhn Stekëhn West, Hortz zï wëhr dünt da Hertz….”. Jannick Top begins a bass solo, utilising every inch of the fretboard. Fingers flying everywhere, he steps to the mike, and proceeds to blow a whistle that’s wedged between his teeth. The shrill notes seem to slice through the brainGuitarist Claude Olmos, a tiny and emaciated figure, picks up the pulse and creates his own fantasy for a few moments before Vander solos.
Now, I hate rock drum solos, and I say that as a person who has dabbled with the instrument a little, but Vander’s feature was honestly unbelievable. It wasn’t just an exercise in speed, although he has that at his disposal too, but rather an object lesson in dynamics, rising from the verge of inaudibility to an earthquaking roar, and as the cacophony heightened, the drummer began to sing, his face continually contorting, head turned upwards to a suspended microphone as legs and arms flailed away. The decibel level lowered a little, Christian executed one final flourish and quit the stage. End of set.
This time there’s no doubt about audience response. A mighty cheer rises, the crowd returning a little bit of the energy the band had expended. To enthuse in superlatives is always dangerous, but occasionally a situation genuinely merits it. Magma at the Marquee was such a situation. Four days after the gig, I still feel vaguely shell-shocked. I can’t quite rationalise away what I saw and heard. Listening to Magma requires a lot of mental adjustment, a re-think about musical values, but it’s nonetheless a shattering experience. The group are so unlike anything else on this earth, that the thrill of discovery when you first see them is just unreal, like stumbling upon the Velvet Underground must have been for questing New Yorkers. That’s how important Magma are. The New York Dolls and their ilk are great fun, absolutely, but Magma are important.
And so to Sunday, and the Garden Court Hotel, where my interview created a closer relationship than the usual rock ‘n’ roll tête-à-tête. Vander, you see, being French by upbringing, if not by ancestry, speaks very little English, and my French is just useless, sub-”O”-level school textbook stuff. So, sitting between us, and acting as interpreter, is none other than Giorgio Gomelsky, daddy of British R’n'B, one-time manager of the Yardbirds and Julie Driscoll, and now father figure to Magma.
Perhaps I should at this point explain, for those that don’t already know, that the lyrical matter of Magma’s material is a sci-fi trilogy that tells of mankind’s dealings with the planet Kobaïa, a planet itself populated with renegade earthmen who became disenchanted with the dishonesty, uselessness, cruelty, vulgarity and lack of humility paramount on the mother planet, and who have developed their own language, society and technology in deep space. However, if you think that is a sign to dismiss Magma as pretentious, half-baked, Hawkwind-type stoned drivel, then you’re making a very big mistake. The whole allegory allows Vander to make some genuinely profound and spiritual statements, and the music is definitely not any cheapo-cheapo space rock. Magma’s is the music of the spheres, as succinctly understood as is that of Sun Ra or Gyorgy Ligetti, or Gustav Holst, even, if you prefer a more accessible example. Vander has devised his own category for the music of which, incidentally, he is the prime composer. He calls it “Zeuhl Music” (“Zeuhl” rhymes approximately with “earl”), and this Kobaïan word is as much a comment on the intent of the music as it is the sound. Zeuhl music is that which attains to higher ideals than the strictly material values of most pop or rock. Christian is fairly contemptuous of people who would deny the spiritual, or restrict their vision to earthly triviality.
“Most people now have too much self-esteem,” he says through Gomelsky, “believing that humans are the highest possible thing. It is very evident that you should have aims higher than you are: live to contribute something rather than just survive. “Until you reach the highest state you can get to, you are always nothing compared to the universe.” If that sounds fair enough, but you still feel overwhelmed at the prospect of listening to a verbal assault in a foreign tongue, then consider this.T he Continent has now, for the best part of twenty years, been dancing to English and American pop music of which the bulk of its populace understands nary a word. Thus for French fans, it was no big deal that Magma sang in another language. And if you stop to think about it, maybe it isn’t such a big deal anyway. Christian says that Kobaïan is a language to be felt rather than precisely understood; to be sung rather than spoken. But in case anyone is really perturbed, he’s working on a Kobaïa-to-Earth language dictionary.
The origin of the language makes an interesting little anecdote. Prior to Magma, Christian was playing in a fairly sordid casino, laying down Coltrane-inspired jazz, but the audience was not aware, or did not want to be aware of what the group was doing. So, “I tried to explain to the audience that lots of musicians with really fabulous things to say practically committed suicide through their sadness at not being understood, like Billie Holiday, Charlie Parker.” “But they did not listen. And I am ashamed to say that I came to hate them so much in that moment, that the words that came pouring out of me were so strong that it was better that they could not understand them. It was better that they were not in French. In that moment I wished them all dead, and that is unusual because I have a great respect for life – rightly or wrongly.”
John Coltrane was the great spiritual love of Vander’s life because he was playing for his time, rather than making “music for the future.” Any music that purports to be avant-garde says Vander, is out of touch with reality. Magma’s intention is not to play for any elite, but rather to educate the mass audience to the appropriate level, or rather as Christian puts it, to simply make the audience more aware. Vander is passionately convinced of the importance of Magma. “Before Magma, Coltrane was more important than anyone to me. Now I love Magma most, and Coltrane just immediately after. I will explain why. When you put all your emotions and all your feelings into something, it’s logical that you’re going to love that thing more than any other. Previously Coltrane was always closest to my heart, but it wasn’t my heart in fact, it was Coltrane’s. But playing his music helped me to find my own.”
By the time you read this, Magma will be winging their way back to their Paris residence. But fear not, they’ll be back. The third album from the group ‘Mekanïk Destruktïw Kommandöh’ the first to be released in Britain will be available on A&M in January. And live performances here will recommence in February, when the group Nico will support the band, who are ardent fans of Magma. Nico, says Gomelsky, plays Zeuhl music too. I wouldn’t doubt that for a moment. So, that’s one tour you miss out on at your peril. Don’t say you haven’t been warned.
Curse of Magma’s bassist: A Scots road manager tells how he once worked for French band Magma when they were playing in Ibiza. He was sharing a room with Jannick Top, the bass guitarist. At the gig the previous evening there had been bad vibes between Top and Christian Vander. The Scots roadie awoke in the middle of the night, frightened by horrible screams. He turned on the light and saw that Top had on his arms sets of three prong marks, as from a trident, with blood pouring from them. He began shouting at the roadie to draw a chalk circle on the floor. Petrified, he began chalking as ordered without knowing what he was doing. Eventually the bleeding stopped. The roadie then left the band, which shortly afterwards changed its line-up. The theory was that a curse had been put upon the bass player.
CHECK OUT THE PSYCHIC SIGNAL
We took a listen the other week (talk about topicality!) to the new album by Magma, ‘Köhntarkösz’. It’s another incredible work, better I would say than its predecessor ‘Mekanïk Destruktïw Kommandöh’, not least because the emphasis is off the vocal parts and more into instrumental exploration.
It’s even heavier than the last, if that’s possible, and like many of Christian Vander’s compositions features an extremely dense and oppressive first part with a second which opens out.
These two movements occupy both sides of the record though there are a couple of short tributes to Vander’s musical guru John Coltrane – one of Coltrane’s own pieces and one of Vander’s own which features a million cellos.
I heard the record as it was being cut at RCA’s cutting room, which is hidden away not half a mile from where I live (to my surprise). A 15000Hz tone had somehow sneaked its way on to the second side of the disc, which was causing the engineers a certain amount of concern.
Mr. Gomelsky (who else?) was on hand to declare that it was a psychic signal from Coltrane. The Big G declared that ‘Köhntarkösz’ is the story of entry into the tomb. Check it out when it arrives; you can’t afford to miss it (or words to that effect).
Melody Maker 10-8-74
MAGMA, Gong, Kevin Coyne, Hatfield And The North, Isotope, Lol Coxhill, and Byzantium are the latest additions to the Windsor Free Festival bill later this month. All the bands will appear on August 26 and it will be Magma’s only British appearance. On the same bill will be Keith Christmas and Steve Miller. The Festival runs for nine days from August 24.
MAGMA – NEW VICTORIA
A Diet of savagery that in it’s “discipline in the dark” is far more menacing than any clean-cut heavy metal brutality, was dealt out at the New Victoria last Saturday.
Magma, if not in a tailored space, certainly were gifted with a made-to-measure audience. The hall was less than a third full, but judging by the whistles and applause you could have been fooled into thinking you’d caught Aretha at the Fillmore.
“C’mon Vander, my man, tell it like it is.”
Well, rumour has it that Christian Vander holds forth some philosophical theories, looming even larger than his biceps, encompassing genetic supremacy, interstellar energy and the ultimate power of the will over all else. I say “rumour” because Vander and his gang have never given their views directly to the press. The word of mouth report eventually shortened theory to a sentence and landed them with a neo-Nazi tag. Justified or not, collaboration is in order. The present line-up includes two keyboards and two vocalists, one male taking his gestures from stylised Japanese theatre, and one female (Vander’s wife), both of whose vocal gymnastics are carried out in a language invented over the years by, who else, Christian Vander. The bass, violin, and guitar, noted for two-note solos, are manned by heavy-handed followers whose playing has the effect of crocodiles sawing your head off with irregularly spaced teeth while rolling their eyes in Gothic horror.
Vander’s aura could well be described “inter-stellar energy”: at times he was so fast that he appeared only as a blur surrounded by drums and the cymbals.”Yeah, like an eggbeater.”Okay, but machines and other drummers don’t vary their striking force from a touch to a bash and back in high speed. He did. It was when Vander eased off the beat and onto the vocals that the dark nasty visions took over. His voice, a low monotone, slipped into some kind of scat, more like stutter singing it w-w-w-was un-n-nb-bearable.
They don’t even bother to announce the titles of each song. Probably they expect that their audience has memorized the sleeves of their records (also in their private language) or possibly that there is precious little difference between numbers anyway. The entire first half of the set has instrumentation pulsating like a headache, complemented by the choral bit like maidens descending into the Garden of Valhalla in a B-grade Italian film. The last half, however, is Mr. Vander, bathed in blue light (reminiscent of Dr. Caligari) for an endless drum solo. Technically, he’s brilliant: but a thirty-minute drum solo is merciless. Since no one else in the group displays enough individual personality to distract your attention you leave with an after image of Vander’s eyes and a subliminal thudding in an unlit attic of your mind. If there were six more of Vander, or a Nuremberg rally chorus, this may have been frightening music; but staged fear and entertainment need a more imposing presentation to keep you from counting the polyrhythms of a showcased drummer.
Editors note: I have included Jannick’s photo, which was printed with the original review – but the bassist at the New Victoria was Bernard Paganotti.
ART ZOYD U.K. TOUR
ART ZOYD are planning a short tour of the U.K. in May 1992. The gigs will be as follows:
??-05-92 Glasgow ??-05-92 Brighton Festival ??-05-92 Canary Wharf, London
I suspect these will be in large cinemas, since they will be playing their current album “NOSFERATU” and this is generally performed live to accompany the old black & white horror movie projected on a large screen behind the band. The Arts Council would probably fund a mammoth project like this and therefore I expected the London show to be on the South Bank. More details urgently required. I consider “NOSFERATU” to be their best work of the last decade – Dense, Macabre, Chilling and very atmospheric – Powerful stuff indeed!
ART ZOYD REISSUES
MANTRA will be releasing the remixed versions of ART ZOYD’s first three albums on a double CD with extra previously unreleased material and the ‘SANGRIA’ single later this spring.
WEIDORJE / PAGA
MUSEA hope to release Bernard Paganotti’s ‘WEIDORJE’ album on CD soon. PAGA are currently trying to get their third album a CD release, this one was recorded circa 1989 / 1990.
Eric Serra has joined PAGA.
SEVENTH records next CD and K7 only release will be ‘RETROSPEKTÏW III’ – release date 6th April 1992. They also intend to re-release both ‘MDK’ and ‘Köhntarkösz ‘ on CD in 1993, this time they will be mastered from the original studio tapes which were not available when the albums first came out on CD.
JAPANESE / AMERICAN TAPES
A&M in Japan had a set of US tapes which they used last year for the Japanese editions of these masterworks. A&M included the lyrics with the ‘MDK’ CD.
STELLA VANDER says that she is very pleased with the response to her new album ‘D’EPREUVES D’AMOUR’.
GEORGES BESNIER has just had a short spell in hospital for treatment relating to his nasty car accident last year, but is apparently recuperating well.
CHRISTIAN VANDER intends to record another album with the TRIO this will be the next 100% NEW work to be released. After that will come the OFFERING album which includes ‘COSMOS’ & ‘A FIÏÈH’ as well as other pieces performed in recent years but previously unreleased.