Issue 8

What's old

Exposé print issues (1993-2011)

Available online from Issue 8

November 1995

60 Pages

King Crimson, Language & Culture in Music, Germanofon label, East-Bay Prog Day, North Carolina Prog Day, Magma megafeature, Christian Vander Discography, Christian Vander interview, The Zeuhl School, Eskaton, Wittox O'Hara, Eela Craig, Terraced Garden, Jad Ayache (Xaal), Birdsongs of the Mesozoic, Jesus Filardi of Galadriel

Showing items 1 to 20 of 160

A Band of Composers —
The Birdsongs of the Mesozoic Interview 1995

Birdsongs of the Mesozoic originally formed in the early 80s as a collaboration between Mission of Burma's Roger Miller and Boston composer Erik Lindgren. Though the band has undergone several personnel changes, including Miller's departure from the group, the one constant over the years has been their unique, eclectic blend of avant-garde, 20th century classical, electronic, and progressive musics. Their latest album on Cuneiform, Dancing on A'a, is their strongest one to date, full of complex, dynamic, and innovative compositions. I recently had the chance to speak with saxophonist Ken Field and guitarist Michael Bierylo. » Read more
(Posted by Rob Walker 1995-11-01)

A New Generation of Spanish Music —
Jesús Filardi of Galadriel 1995

For over ten years now, Galadriel has been one of only a few active progressive rock bands from Spain. Their debut LP Muttered Promises from an Ageless Pond from 1988 caught the ear of the folks at Musea, who agreed to release it on CD, and also release their second Chasing the Dragonfly in 1992. During the period from mid-93 through mid-94, the band went through a series of personnel changes that in the end left lead vocalist and composer Jesús Filardi as the only original member. Here, Filardi talks frankly about the band, the albums, some of the changes that have taken place, and the outlook for the future. » Read more
(Posted by Peter Thelen 1995-11-01)

A Short History of Kobaïan-Earth Relations —
Magma in the 70s

Imagine a world, many centuries into the future, when society as we know it has decayed into chaos and degradation, void of spiritual guidance. The colonization of space is well underway, and space travel has become commonplace. It is in this setting that a handful of enlightened Earth people seeking a better existence finance the construction of a private spacecraft and leave the planet in search of a new world where a new, more spiritually guided civilization can be reborn. They finally find that new home after a long and hazardous journey on the distant planet Kobaïa, where the party settles and begins anew. » Read more
(Posted by Peter Thelen 1995-11-01)

From Coltrane to Kobaïa —
The Christian Vander Interview

The Place: The Glass Slipper, Vancouver BC
The Time: Saturday afternoon, April 22, 1995 before the Christian Vander Trio show that evening
Laurent Goldstein: Translator » Read more
(Posted by George Allen, Robert Pearson 1995-11-01)

On the Way —
The Jad Ayache Interview

Xaal, a recent French trio (guitar, bass, drums) playing an intense music, inspired by Magma, made two discs: En Chemin / On the Way on the Progressive International label from the USA (then re-issued on the French MSI label) and another, recent, titled Seconde Ere, on Musea. Both albums feature this fusionesque zeuhl approach, with a bass playing that sometimes recalls Bernard Paganotti or Jannick Top. Xaal doesn't exist anymore, but they left two documents which are of high interest. I chatted with Jad Ayache, composer and guitar player, from his home in France. Jad was just coming back from a practice session, it was about midnight his time. » Read more
(Posted by Alain Lachapelle 1995-11-01)

Once upon a Time in Linz —
The Eela Craig Story

Possibly Austria's best-known prog band (I'd be very surprised if you can name another that made more than one album), Eela Craig formed in the early 70s in Linz (about 85 miles west of Vienna). The nucleus of the band was pianist Hubert Bognermayr, bassist Gerhard Englisch, and multi-instrumentalist (flute, sax, organ, guitar) Harald Zuschrader. Over the course of the remainder of the decade, they produced four albums that are well-regarded in the progressive rock world, and (like so many bands) went on to record more pop-oriented material in the 80s and beyond. » Read more
(Posted by Mike Ohman 1995-11-01)

Out of the Shadow of Magma —
The Eskaton Story

Of all the musicians and groups most influenced by Magma and zeuhl music, Eskaton may have been the most impressive of all. While beginning their careers with strong influences by Magma in both name (Eskaton Kommandkestra) and music, the Parisian group slowly and carefully forged their own view of celestial music over three albums and a single. » Read more
(Posted by Mike McLatchey 1995-11-01)

Return of the King —
King Crimson in San Francisco 1995

Man, was it hot! Saturday, the 24th of June was the hottest day of 1995 in San Francisco. As the temperature outside soared to 100 degrees, a group of us eagerly awaited outside the Warfield Theater for what, to us anyway, was the concert event of the year. It had been just over 11 years since King Crimson last performed in the Bay Area. Saturday night was the first of three consecutive sold-out performances at the Warfield. Initially, I pondered which of three shows to attend. Would the sound or performance be better the second or third night as the band and crew got used to the venue? Should I wait and go Sunday or Monday instead of Saturday? I wonder... No, it had to be the first show. I had to be there for the return of the King. » Read more
(Posted by Mike Grimes 1995-11-01)

Tending the Progressive Garden —
Carl Tafel and Terraced Garden

Terraced Garden began in early '81 as a solo project by Toronto-born multi-instrumentalist/composer Carl Tafel. Prior to this, he was one third of a band called Cardboard Brains, for whom he played bass and sang, a "demonically heavy" outfit by Tafel's own admission, that was "too far outside for any broad acceptance." He left the band in order to concentrate on writing, playing guitar and keyboards, and developing a more expanded sound. The first recordings began in 1981, but the money quickly ran out. A year later, Tafel went back into the studio, and with the help of some other musicians, finished the recordings for the first album by the end of 1982, and it was finally released in January '83. » Read more
(Posted by Peter Thelen 1995-11-01)

The Christian Vander Trio Live in Montreal —
July 6th, 1995

During the Montreal International Jazz Festival we had the pleasure to hear the Christian Vander Trio. Like many North American Magma amateurs, I had never seen Vander playing live before, so this was a real treat on its own. The concert was outdoors, at 10:00 pm, on one of the numerous stages of the Jazz Fest. » Read more
(Posted by Alain Lachapelle 1995-11-01)

The Zeuhl School —
The Extended Family of Magma

When considering the legacy of Magma, which continues to this day, one must recognize the huge wake they left behind: Many of France’s best musicians were once members, or associates of members, or somehow were touched by their influence. Thus, their pervasive effect on the French jazz-rock scene cannot be understated. After Magma it would never quite be quite the same again. In this piece I will attempt to cover (albeit briefly) some of the many spin-offs, feeders, side projects, and solo works by many of Vander’s former and current associates. This overview is not intended to be exhaustive and complete – instead it is intended to establish some of the relationships between certain formations and musicians who carried the zeuhl spirit forward, and give some information regarding them.

» Read more
(Posted by Peter Thelen 1995-11-01)

Words from the Surrealist —
A Chat with Wittox O'Hara

What can you do with an acoustic guitar and a drum machine? Wittox O'Hara's The Surrealist is a mystifying piece of work. Lots of xylophone-sounding timbres weaving intricate lines, much like a percussion ensemble, with plentiful of odd percussion blending in with the eclectic acoustic guitar and occasional accomplice electric guitar, shaping everything together, forming an impressionist world on its own. » Read more
(Posted by Alain Lachapelle 1995-11-01)