Rhesus O — Rhesus O
(Musea FGBG 4137.AR, 1971/1996, CD)
by Peter Thelen, 1997-02-01:
A lost relic from the early zeuhl period, Rhesus O was a band formed by keyboardist Jean-Pol Asseline and drummer Thierry Blanchard in 1971, along with five other musicians — among them Magma alumni Francis Moze (bass) and Alain Hatot (saxes, flute), and actually represents the first real Magma offshoot band, although at that point neither Blanchard or Asseline had been members themselves (Jean-Pol later joined during the Köhntarkösz / Live period after the dissolution of Rhesus O). Their style could be described as a mixture of Third and 4 period Soft Machine and the early Magma circa the first album or 1001C. The lineup included dual keys (organ and electric piano), dual basses (electric bass and double bass), and occasional xylophone, plus saxes (soprano, tenor, and baritone), flute, acoustic guitar, and drums. The playing is extremely tight and spirited, with a strong contribution from all the players. The album contains nine short to mid-length gems of sparkling jazz-rock, each with its own character and lifepulse. The sound quality is excellent, especially considering that these tapes are twenty-five years old. Were it not for the vintage instrumentation, one could easily believe this was recorded yesterday. Sadly, there are no tapes beyond what constituted the original album, so that's all you get, thirty-five solid minutes in all. This is definitely a must-have for all zeuhl fans and friends of jazz-rock alike.
by Henry Schneider, 2016-12-15:
Digging through their music archives Musea has unearthed another relic of the pre-Magma / zeuhl school of music. Recorded in 1971 at the Chateau d’Herouville, this short-lived band produced what many aficionados consider to be the first zeuhl album. Drawing on their jazz roots and close association with Gerard Prevost, Jean-Pol Asseline and Thierry Blanchard pulled together seven other likeminded musicians to create a rich and sophisticated music akin to Magma’s first album and Soft Machine’s Third and Fourth. With today’s CD technology and the tendency now to utilize it to the max, the roughly 36 minutes for the nine songs are just too short. It is too bad that Musea could not augment the original album with some bonus tracks. Rhesus O is an essential album for fans of this genre and could be a great place to start for the uninitiated.
Related artist(s): Rhesus O
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From the press release:
To Wake a Dream in Moving Water takes from Echo Us' past and spins it into a whole new direction, one closer to traditional acoustic Celtic music than ever before.
To Wake a Dream in Moving Water was composed and recorded during the first few months of 2017. Although Celtic influenced and comprised of a number of re-workings of Irish folk tunes and Breton aires, the album is still in large part new and original Echo Us music that fits right in the Echo Us ‘canon’. “Wake” is a natural progression from “A Priori Memoriae”, which was released to critical acclaim in Europe in 2014.
To Wake a Dream in Moving Water is Echo Us’ ‘Celtic’ album that was planned for a long time but never executed because of the work on the trilogy that came before it. The album title is a typical ‘Echo Us’ play on words which one can find their own meaning.
“It is also both evocative of the Oregon rain, which I am told is not too unlike the rain in Ireland.”(Matthews)
To Wake a Dream in Moving Water is also a comment on conception- which was unintentional when the lyric was written. Matthews surprised himself a few months after writing it, realizing that the song was actually about the nitty gritty, biological workings of what happens when a child is conceived. The folk song it derives from musically describes a courting ritual, one that even today we can all relate to in our own way.
“Come With Me Over the Mountain" in acapella was the musical inspiration for the song, and came into my consciousness after the lyrics were written a few months prior. “ (Matthews)
As with all Echo Us recordings, a number of seeming coincidences resulted in connections being drawn where prior there were none. Another experience of similar capacity was found in oboe samples from A Priori Memoriae that echoed the traditional “May Morning Dew’, also reworked for guitar on the new album.