One of my favourite musicians ever, here is an artist that definitely occupies the ‘eclectic’ prog zone to perfection, insanely off the beaten path, yet still an accessible and attractive exponent of modern arty jazzy electro musicality. His “La Marmite Cosmique” series of releases were all not only well-received by fans but also critically acclaimed, and I happen to cherish them all very deeply. We have the same crew as on the previous Moondragore , namely the legendary Gongster Didier Malherbe on assorted woodwinds, Cherry Pob on vocal duties and some anonymous dude on drums who goes by the label Cloudy Myster. Arnaud, as per norm, handles guitars, sitar, vocals as well as being a splendid keyboard player.
The jazzy “Overture” sets the fuse ablaze with a phosphorescent spark of synthesized lunacy, an ultimate entry into a colossal 18 minute foray of joyous music on “Mumble Jumble”, a funky, psychedelic and savage experience in boldly going into all the colours of the rainbow at once, the instrumental display exciting from the get go, Arnaud delivering impeccable arrangements on a variety of keyboards (organ, synth, piano, e-piano), a thoroughly pungent bass propellant, and blistering electric guitar splurges. The intricate drum and percussive accoutrements certainly remind one of the classic Gong, giving this platform lots of sassy brass, hysterical funky passages that would make Sly Stone smile from heaven. The way the Moogs are tortured is reverential and absolutely spot on. When Didier kicks in with his sexy sax, the skies shoo away any lingering clouds, letting Cherry Pob to vocalize like a soulful diva. This is simply intoxicating, addictive and pure fun, as if a soundtrack to some urban cinematographic story, entirely retro-futuristic. With such a wide musical berth, there is more than enough space to travel here and there, and back, a fully controlled freedom of expression that will boggle the inquisitive mind. The burly electronic rhythmic swerve comes unexpected, as the echoing swaths of synthesized madness slash smoothly through the hazy azure. A flippantly cool finale brings this to its suitable end. Doctor Mesmer, where are you?
A series of seven shorter tracks takes hold, like a palace of mirrors reflecting different reflections and offering the much-needed light to keep things absorbing . From the jazz-infused brushed cymbals, furtive bass and insistent piano on “Oyster Meat”, rekindling images of Zappa-esque playfulness (note the marimba/vibraphone section to die for, the scat singing paralleling the woodwinds) and a fair dose of “légèreté” to the spicier fervour found on “Scotch Bonnet”, where capsicum arrangement burns both the tongue and the mind. The bass synth bounces around like a Jamaican bobsled swerving down a track in St-Moritz, the chugging semi-Rasta rifferama, fueled by sassy brass, serpentine synth and a devilish e-piano solo are all enough to supply endless mouthwatering flavours to your soul.
“The Duke” has an altered slant, a stark and moody electronic flutter that winks at the Dusseldorf school, with giant thick oscillations, and enough ADSR to satisfy the biggest craving. Yet Arnaud injects some profound emotional drama, almost a vintage John Foxxtinge to it all.
“Transylvania on Holiday” creates mental images of bellowing Béla Lugosi going back to his Hungarian roots, laughing sardonically, as the otherworldly synthesizers hover above like a flight of vampire bats. A stake through the heart should not be taken too seriously, as Didier inserts some circus-like insanities, and some scratchy electric guitar that seeks to bite the neck and eventually suck your blood. Hey, it’s a holiday, okay? From here on in, things get weird, and we love it! “John Dory Theme” is sheer unadulterated velvet-textured caramel with a dash of synthy salt for good measure, with an undulating bass undertow that sounds like a 70s sonic experiment gone bananas while watching a re-run of the “Streets of San Francisco”. Comic deliverance with spooky ghost tunes for a mere 30 seconds , then a bossa nova tune straight out of the Yello school of accented deep voice (a la Dieter Meier) electronic extravagance, as a cosmic crash caused by a “Satellite of Doom” . All in good fun!
Finishing this amazing planetary ride with another extended mammoth, I daresay the crowning moment, the nearly 11 minute “Xanadu” will blow your mind ! Nothing in common whatsoever with either Rush or Olivia Newton-John, this magnificent opus is like a convertible ride down the cosmic highway, no speed traps or traffic lights, just endless smooth driving. I mentioned already what a fantastic keyboardist Arnaud is, and here you get the whole sonic solar system, mastering all the ivories with ridiculous ease, and illustrating convincing melodies that really hit the spot. The sultry electric guitar solo clearly winks at some comfortable numbness before suddenly weaving into sitar and tabla land, somewhere between Punjab and Shangri-La . A breezy galactic journey of the finest caliber. Absolutely stunning.
If you haven’t yet caught the Bukwald buzz, it’s a shame, because Arnaud is arguably one of the current genius talents in the prog community, a wunderkind rebel who does his own thing.
5 asteroid convoys