Clearlight : Symphony

Symphony

Clearlight

Label
Wah Wah
LP
24,95 € Buy

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Clearlight : Symphony Clearlight : Symphony 24.95 Music > LP 316781

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hrough Tim Blake, Gong’s synth player at the time (one of Branson’s first artists), Cyrille Verdeaux signs for Virgin in 1974. That same year Clearlight Symphony is recorded (clearlight stands for a type of LSD). For its recording sessions Cyrille uses two different line-ups, each in charge of each of the two parts of the work. On one side there’s ex Babylone members Christian Boule, Lard Free’s Gilbert Artman and bassman Martin Isaacs. They record along with Verdeaux on Virgin’s Manor studio. The other side will be canned at Kaleidophon studios, ran by White Noise’s David Vorhaus, where Cyrille is joined by Gong members Tim Blake, Steve Hillage and Didier Malherbe. Verdeaux’s original idea was to feature the Manor studio recordings on side A, but thinking heads at Virgin thought better to flip sides to make more profit of Gong’s commercial success. A curious decision, since you normally don’t promote an LP with the same strategy you would use for a single! Clearlight Symphony was released in 1975 with small echo in press and public, although it has nowadays reached a cult status among followers of the symphonic — cosmic — progressive genres. In what refers to its musical content, Clearlight Symphony is a completely opposed concept to that of the other project in which Verdeaux was involved at the time: the collective album Delired Chameleon Family (also reissued recently on Wah Wah Records), a brilliant psychedelic dive into the French underground of the seventies. Clearlight Symphony, instead, is a much more author-controled work, where all the musicians adapt themselves to Verdeaux’s circular, systematic composition. The alleged and collected improvisations, dissonances and atonalities (superb Boule), the rhythmic tension of Artman’s enigmatic, Heldonian drumming, Blake’s environmental VCS3 modulations, Hillage’s content cosmicism, Verdeaux’s crescendos and counterpoints — plus echoes of Debussy, Terry Riley, Soft Machine, Magma, and why not, the aforementioned Tubular Bells. In short, a work of honesty, an album of its time.

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  • Clearlight : Symphony - LP

    LP

    In 1-2 weeks.

    hrough Tim Blake, Gong’s synth player at the time (one of Branson’s first artists), Cyrille Verdeaux signs for Virgin in 1974. That same year Clearlight Symphony is recorded (clearlight stands for a type of LSD). For its recording sessions Cyrille uses two different line-ups, each in charge of each of the two parts of the work. On one side there’s ex Babylone members Christian Boule, Lard Free’s Gilbert Artman and bassman Martin Isaacs. They record along with Verdeaux on Virgin’s Manor studio. The other side will be canned at Kaleidophon studios, ran by White Noise’s David Vorhaus, where Cyrille is joined by Gong members Tim Blake, Steve Hillage and Didier Malherbe. Verdeaux’s original idea was to feature the Manor studio recordings on side A, but thinking heads at Virgin thought better to flip sides to make more profit of Gong’s commercial success. A curious decision, since you normally don’t promote an LP with the same strategy you would use for a single! Clearlight Symphony was released in 1975 with small echo in press and public, although it has nowadays reached a cult status among followers of the symphonic — cosmic — progressive genres. In what refers to its musical content, Clearlight Symphony is a completely opposed concept to that of the other project in which Verdeaux was involved at the time: the collective album Delired Chameleon Family (also reissued recently on Wah Wah Records), a brilliant psychedelic dive into the French underground of the seventies. Clearlight Symphony, instead, is a much more author-controled work, where all the musicians adapt themselves to Verdeaux’s circular, systematic composition. The alleged and collected improvisations, dissonances and atonalities (superb Boule), the rhythmic tension of Artman’s enigmatic, Heldonian drumming, Blake’s environmental VCS3 modulations, Hillage’s content cosmicism, Verdeaux’s crescendos and counterpoints — plus echoes of Debussy, Terry Riley, Soft Machine, Magma, and why not, the aforementioned Tubular Bells. In short, a work of honesty, an album of its time.

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