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Category: The story

Planeta : new music sound review – 1984/1986

Planeta : new music sound review – 1984/1986

Listen to the Planeta podcast

A new music sound review with Interviews, musical snippets, concerts : an anthology of the musical undergound in 38 episodes of 15mn, more than 9 hours of sound and music.
To follow the Planeta podcast : subscribe here on this blog or on Google Podcasts, Apple Podcasts, Soundcloud, Stitcher, ITunes, Deezer, Podcast Addict…

PLANETA – Interviews, editing and mixing: Pascal Holtzer, Marie-Berthe Servier and Bruno de Chénerilles. NB: Some groups participated in creating their own modules.

30 years later, we rebroadcast here this sound magazine ( 9 issues, 38 audio modules, 9 hours of audio documents) in the form of a podcast available on this blog, but also on Apple Podcasts, Google Podcasts, Soundcloud, Stitcher, ITunes, Deezer.

Listen to Planeta on ios and androïd - Apple Podcasts and Google PodcastsStay with us : subscribe to the blog to stay informed of new releases!

Planeta : Rock Hexagonal Tendancieux – Poitiers (F), 1986

Planeta : Rock Hexagonal Tendancieux – Poitiers (F), 1986

Listen to episode 38 of the Planeta podcast : Rock Hexagonal Tendancieux at Confort Moderne – Poitiers (F).
Here is a trailer on floppy vynil. It was recorded to promote the third edition of Festival RHT 1986 / a selection of french groups. Groovy musical excerpts and authentical vinyl scratches …
To follow the Planeta podcast : subscribe here on this blog or on Google Podcasts, Apple Podcasts, Soundcloud, Stitcher, ITunes, Deezer, Podcast Addict

PLANETA – Interviews, editing and mixing: Pascal Holtzer, Marie-Berthe Servier and Bruno de Chénerilles. NB: Some groups participated in creating their own modules.

30 years later, we rebroadcast here this sound magazine ( 9 issues, 38 audio modules, 9 hours of audio documents) in the form of a podcast available on this blog, but also on Apple Podcasts, Google Podcasts, Soundcloud, Stitcher, ITunes, Deezer. Every week, a new episode of the PLANETA podcast.

Listen to Planeta on ios and androïd - Apple Podcasts and Google PodcastsSubscribe to the blog to stay informed of new releases!

Spring 1983: first album by Alesia Cosmos

Spring 1983: first album by Alesia Cosmos

Following the story…

This fruitful period of musical experimentation of all kinds – see post: Premises -1977-1982 – ended with the launch of the first album of Alésia Cosmos.
End of 82 Pascal Holtzer and I Bruno de Chenerilles composed and prepared sketches in their respective home studios.

NB: the term did not yet exist, only a few electroacoustic composers and some sound tweakers ventured to analog mixing and recording equipment. Some Revox stereo recorders, a mixer, a few microphones, speakers and then analog synths, the first rhythm boxes, some effects – reverb, delay, fuzz, our electric guitars. It took us a few years to acquire these expensive machines.
At this time there was no computer software and the first affordable multi-track recorders appeared a little later. But with this equipment we could compose and rehearse. We found traces of some of these sketches recorded during the phases of preparation before recording this first album Exclusivo!

 

Beginning 83, we also founded a non-profit structure  to carry the first album’s project. Planetarium was founded in March 1983 at the very moment when we formed the group.

In addition to Pascal and myself, we invited Marie-Berthe Servier, who was involved in Corbo Combo in the previous decade, as well as an excellent Tunisian percussionist Lotfi Ben Ayed burning to mix his darbukas, bendir and bagpipes with our drum machines. A fifth strange character also joined in: Pierre Clavreux, a fake wacky breton ex-barde, who returned from Japan where he had hit the big drums of the group Kodō in Sado island.

In February or March, we were ready for recording the album at Studio Weekend in Gambsheim North of Strasbourg. A brand new small studio with a TEAC 8-track recorder, a professional mixing console, a few good microphones and a few analog effects. The studio was owned by Guy Mas and Jean-François Issemann. They  ensured all takes for a good week, which is very short for an entire album.

The project had matured for several years. The album was very well prepared. The members of the group were inspired and this very minimalist music was based on a mix between electro, rock, traditional music, composition and free improvisation. Each brought his particular feeling and the sauce had taken immediately on previous rehearsals.

We had decided to entrust the mix to another person in order to have an outside view of our music. We had met Michel Risse, ex-drummer of the french group Herbe Rouge and also electroacoustic composer. He was then beginning with his to become famous company Decor Sonore. Michel was involved in Sous-Paradis and he was in charge of producing the album in which all members of Alésia Cosmos contributed individually.

Appointment was made with Michel to mix the album at the Anagram studio in Paris. Pascal and I borrowed an old car to Jack Nietzsche (ex-bassist of Alesia Cosmos furi show duo). I remember an old Citroën Ami 8 which the engine went to smoke on East Highway in a downhill slope to Verdun.
Our tapes under our arms, Pascal and myself we joined Anagram studio by train, then by metro and stayed all night to mix the album with Michel Risse.

The launch of the album took place in mid-April with the first 3 concerts at L’Ange d’Or theatre-café our favorite venue in Strasbourg, France.

Concerts

Press extracts

Reissue

Exclusivo! will be reissued on vinyl in September 2017 !
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Premises 1977-1982

Premises 1977-1982

The story of Alésia Cosmos really began with our first album Exclusivo ! composed and recorded at the beginning of 1983.
But before that, the core members had together some decisive artistic experiences. Back in 1975 Pascal Holtzer and I, Bruno de Chénerilles met in the bars in Strasbourg. Pascal being a photographer at that time took snapshots of my first free music group Corbo Combo.
Basically consisting of Michel Froehly (el guitar and bass) and myself (el guitar, drums, trumpet, trombone, tapes, turntable and any sound device found on location) playing as a duo, this very radical free music group had different lineups.
Saxophonist Dominique Gasser and cellist Didier Laroche joined regularly for some concerts, as did Marie-Berthe Servier on vocals or Ismaïl Safwan on piano.


Even Pascal Holtzer joined Corbo Combo for a series of shows under the title of Vegetabble.He designed a very creative and elaborated slide show on a double giant screen.The musicians were improvising an hour long set in direct relationship with his pictures.

At that time in 1976/79, a bunch of improvisers were playing in Strasbourg. A small local free music scene was trying to exist during 3 years with Musik Aufhebung, Corbo Combo, Yves Dormoy, Philippe Poirier, Ghislain Muller, Jean-Baptiste Antonioni, Mike Laurent, Dominique Courtadon and others. Approximately 15 concerts were mainly organized by Bruno’s record shop Tympan Sorcier, under the titles of Musique Mouvante (Moving Music) or Académie de Musique de Strasbourg (funny, no?)

In 1978 Corbo Combo as a trio (Dominique, Michel and myself) had another decisive experience composing, improvising and playing live for Bernard Bloch‘s theater show. Faust de Goethe was something like a free rock musical theater quartet. It was performed over 40 times in Elsass, Germany and in Lyon.

Then Pascal and I formed Hamburger Blues Band to express our blues roots. The quartet lineup also featured Michel Froehly on bass and Mike Laurent on drums.

Here I have to mention another highlight of experimental music in France. Because it was very local and short, it is generally ignored by most specialists but still unforgettable for some hundreds of people who attended these 3 shows in 1979 in Strasbourg and Saint-Avold (my hometown in Moselle).
Under the name of Danger, Michel Froehly and I performed a very special electric guitars duo. Backed by a roneotype machine groove tape (there was no laser copier yet), we were switching our amps up to highly distorted larsens. At that time, we probably invented what will be named further noise music.
On the first show some very excited young people broke and threw chairs.
On the second show Pascal joined Danger in filming it with a super 8 camera.
On the third one, he projected his film from the second show. This third and last concert was an opening for the well-known french group Atoll and nearly ended in a riot.

During these years, I also composed and wrote some sci-fi radio plays for french state radio channel France Culture. Under the influences of William Burroughs, John Cage, Pierre Henry and others, I developed a personal tape music work in my studio beside the scenic and collective experiments.

Then in the early eighties, I appeared for the first time under the name of Alésia or Alésia Cosmos Furi Show. It was a solo performance on guitar, voice, analog synth and tapes. Sometimes in duo with bassist Jack Nietzsche and with images and texts. There I mixed a lot of my previous musical practices as singing, writing, composition, blues, rock, tape, electronic and free music.

This experimental show led step by step to a music project based on my and Pascal Holtzer’s experiments and compositions.
At the end of 82, both of us appeared on 12 Pour 1 compilation LP on French label AYAA with 2 solo titles : Horst Karmann and Anniversaire.

Then Marie-Berthe, Pascal and I recorded solo pieces for another compilation LP Sous Paradis : On the Road Again Memorial 1 to 5, Udi 14 and Sweet Angelina Lost in Paradise.

These solo pieces were perfect exercises for a more collective project involving all our composition, improvisation and recording forces. At the beginning of 1983 we were ready for Exclusivo! , the real start for Alésia Cosmos‘s project.

Bruno de Chénerilles

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