Friday, October 16, 2009

Rock et Folk No. 55 - August 1971

From the collection of a very generous anonymous contributor. I decided to try to use Babelfish for the English translation rather than Google Translator.

A group besides

Magma and Smart-Ass Rock' roll Critic:
first part in six tables

TEXT DREAMED BY ADRIEN IN the NIGHT OF the 12 AT July 13, 1971 … and more particularly intended for those which did not include/understand yet than Magma was the best group of this solar system.

1) All dreamers passed, present … and to come.

By an attic window opening its small famished mouth of light towards the frozen vastness of the Sky, the paddle grisâtre slowly took possession of the part without heart in which a trip finished which had proven extremely testing for its participants. The shade was dislodged little by little of each recess where she had thought to be able to take refuge and a girl cried not to more see (“Something is happening young stag, and you of which know what it is …”) the face of that which made fortune by slapping America to be detached on the thousands from telegraphic kilometers of pylons bathed from dew.

“With the ant-memories
Sometimes who make quiver
Pink and black walls
And naked of my memory … “

The bad poet baudelairien had suddenly stopped, become aware that the white and scented skin of the fair woman to which it dedicated her well ordered pain was not any more in respite but for a few fifty years: in a torn laughter of sobs of dislike, it the Jura suddenly, driving out of its spirit the image of the putrefied carrion that in fifty years the white and scented skin of the fair woman would be (and maintaining almost buried) to which it had dedicated its well ordered pain, not to like never again. In this part where ploughed up some large sad clowns lay Parisian underground, an young man with hair longer than the others morfondait himself, wearied by the saraband which around him the puppets and the “psychedelic” whores danced; Smart-Ass Rock' roll Critic (thus the young man with hair was called the longer only others) saw decreasing its energy which was already nothing any more but the vain word than use sometimes to be pointed out the freaks without imagination; it evoked certain images likely to bring back it towards the original impulse … the immense stone cities that H.P. Lovecraft had imagined beyond the Beyond polar one; the russet-red task of this soaked squirrel of sun and rain fixing it curiously in the eyes (and C œ ur) the afternoon of April when the storm had attacked the forest; the night during which, at the time of a watery trip, the nice face of Christelle had quickly broken up into abominable in addition to oozing. But nothing of all that could be able to release it from the torpor which held it nailed with this old leather armchair; it passed by again a long time in its spirit the instantaneous démoniaques ones or marvellous of its forwardings towards what had formerly been the Unknown but it that he was prisoner of apathy reigning among the supposed shades to constitute his entourage … the TRAGEDY OF PARALLEL LONELINESSES, thought one had well to go obviously moment, while refusing to cherish the foot which had posed on the balustrade of the armchair, EleKtric Prune, a twelve year old young girl very, very invading; it is at this time that he realized that a sharper blood beat with its temples: far in its head, a deaf rate/rhythm had occurred and developed of second in second … It was a wild bearing, like that of an army moving, intersected with shingling gusts of coppers and heinous cries bright in a language that it was impossible for him to translate, although familiar; the run up against blows now redoubled intensity and the fugitive impression that the young man with the hair longer had tested than the others changed quickly into certainty: this violence without call, it could be only his/her friend VANDER, and this piece … RIAH the SAIHLTAAHK, most beautiful of its compositions. Smart-Ass Rock' Roll Critic did not leave without same realizing the old leather armchair of it which fell mollement on a large tropical fruit plate; the faces of people of which it had shared the intimacy still seemed more ridiculous him: small EleKtric Prune had lain down close to an old Swedish opium addict and it tightened against its belly the small pocket of “Chelsea Girls “… electric violence already tore the thick air; Smart-Ass Rock' Roll Critic was planted in the middle of the part and, of the music of full MAGMA the head, howled: ” ETERNITY “.

The opium addict had a spasm, two girls tore black satin their long dresses and, the counterirritated eyes, were whipped some wildly; EleKtric Prune placed the ventilator between its thighs and, cambered kidneys, reversed head it started to cry gently, the throat tended towards the crystal gloss which oscillated already in a way threatening with the ceiling. Smart-Ass Rock' Roll Critic did not leave definitively THEIR trip which it had broken.

2) Who is there to only allow Smart-Ass Rock' Roll Critic to find his identity (the banal one I) … but perhaps also regarded as a means easy to announce the 3).

When the fresh air cherished its face, the young man with the hair longer than the others passed two fingers distracted on his neck and, realizing suddenly that it would be exquisite for him to write some lines on MAGMA, decided to locate as fast as possible his typewriter. II reached that point after several hours of an unfruitful vagrancy which brought it to the door carries chenue of its ancestral residence, Smart-Ass Rock' Roll Critic' S Territory; it entered the garden, sat down with the sun, ate a grapefruit and, after having driven out flexible instrument a CGT couple of pensioners which had elected residence there, it wrote:

3) (which should be the 1) but will have however to be well satisfied to remain the 3) since there was before the 1) and the 2).

One afternoon of June 1970, I went up the Saint-Germain boulevard very extremely while thinking of the way in which I was going to be able to return to me in Bath to attend the concert of Frank Zappa and his new Mothers when I saw Klaus Blasquiz, singer of MAGMA, a group from which the first double album just came to leave, collecting contradictory criticisms of the specialized press (of which I was then very proud not to form part). Klaus and me we stopped (referring certain common physical, we always stop in order to check if it is well with different or oneself that we deal); we sat down and spoke about music; the conversation turned quickly on MAGMA; Klaus asked to me whether I knew the disc of the group and, noting that I had never listened to it (I was not yet Smart-Ass Rock' Roll Critic at that time), it proposed to me to pass at his place one evening … When I went to his invitation, it was more with one initiation than in a listening of disc than I took part: Klaus undertook méticuleusement to explain me the various phases of the voyage towards Kobaïa, the feelings tested by the men on their arrival on planet, the reactions of the occupants of this ground, the feelings of joy and terror; he frequently spoke to me about VANDER, Claude Engel also and I returned several times street Jacob to discuss MAGMA … there

4) The meeting with VANDER.

To the last fall, MAGMA gave a concert to Olympia; there was little world this day in the room; I was in slides and I live to arrive VANDER, hard and solitary in his large black leather overcoat, tightening on the occasion a hand which was tended to him, smiling with the mouth but never not ceasing fixing of his clear and incisive glance people who approached it. A man on the defensive, I thought by seeing it passing. A few weeks later, a friend dealing with theatre workshop proposed to me to organize evenings during which I would invite a musical personality of my choice to come to be made interview in public. The image of VANDER crossing the slides of Olympia returned to me at once to the spirit and I accepted this offer, deciding to make of the leader of MAGMA the first subject of my talks … Entrer in contact with him was not as difficult as I had discounted it; after some unfruitful telephone calls, I was able to join it one morning and exposed to him what I awaited from him: with my great surprise, it accepted and an appointment was taken so that we can meet before the evening itself …
At his place, Sunday morning, it was not very loquacious: I first of all guessed it tended, then, towards the end of our interview, I felt that it lowered a little its defenses; however, when I left it disfigured me same icy air that when I had entered, one hour earlier … two days later, it was the interview with the theatre workshop; to 8:45, VANDER entered, vêtu of the large black leather overcoat and, without looking at anybody, moved towards me; the room filled up gently and I proposed to him to drink something: it accepted but did not soak its lips in glass that I had offered to him; on the other hand he asked me to accompany it to seek cigarettes and, when we had found a bar opened, got informed about what I wanted to take, explaining me consequently occasion which it was wary of drinks that one offered to him where it was invited.
VANDER, this evening, astonished me much. He delivered himself quasi completely, summarizing the sometimes intimate circumstances in which it had been brought by it to adopt certain positions with respect to the human relations; he spoke about the work which he had undertaken in order to improve the kobaïen, settled with the piano in order to better render comprehensible the strictly musical explanations. VANDER attentive, ironic, provocative, was detached in turn according to whether the public were sincere with him and that Francis Moze, the bass player of MAGMA also present, was given the responsability to answer or not. Some found that VANDER was sufficient and pretentious, others were touched by that which they regarded as an idealist. Nobody in any case remained indifferent afterwards … A few times, VANDER and me had our respective problems to regulate and we lost sight of the fact ourselves until the beginning of July.

5) The interview of MAGMA.

On Thursday July 8 with 15:00, the sun crushed Paris and I descended the steps from Gibus in order to find the members of MAGMA with which I had appointment; Gibus, it was their last engagement until the … September 11, which proves that the owners of clubs able to recognize a good group are not legion.

First of all, could you make us a rapid summarized of the reasons for which was born MAGMA?
Francis Moze: It is very simple. In 1969, we made, Christian (VANDER) and me, a round in Italy; on our return we felt a need pressing to do something of personnel.
VANDER: this round occurred in boxes to champagne where the iron ores are interested by the shoes of the bass player than by the music.

How did the selection of the musicians take place?
Teddy Lasry: partly thanks to meetings of friends, conversations.

What becomes Uniweria Zekt?
VANDER: Uniweria Zekt. Initially it is not a chance if it were called Uniweria Zekt and not Internationa Zekt. It is an organization founded to contribute with the blooming and the propagation of creations of quality, that it is in musical artistic fields, cinematographic, pictorial or scientists, and even philosophical. The handicap today, it is that we do not have money …
François Cahen: but the Sect in any case already exists on our level … MAGMA, it is the Sect.

Which are the reasons for which Richard Rault, Claude Engel and Paco Charlery left?
François Cahen: perhaps would it be best theirs to ask?
Teddy Lasry: with regard to Richard, I believe that it was purely aesthetic. For Paco, it is different: he did not work obviously enough his instrument; at MAGMA, one cannot be satisfied to give the impression; moreover it took as racial implications the fact that one points out to him that it arrived late …
Francis Moze: for Claude, I think that there was a problem of employment, it perhaps felt that he could not be expressed so much within MAGMA … And then he had other … proposals the sessions … he was necessary that it has the freehands. I intended to say that it prepared its first album solo; that will be certainly interesting …

Did you have problems to recruit new musicians?
VANDER: Not, none.

And didn't their arrival create a certain loss of identity, a kind of weakening of the image of the group?
François Cahen: not, they adapted very well and one is really happy to have them with us …
Teddy Lasry: in any event, from the musicians, it will still pass from there to MAGMA.

Which are your immediate projects?
François Cahen: rest forced until September because we do not have any engagement by then.
VANDER: we will record each one an album in solo, more commercial, for Barclay; we will work with Laurent Thibault; we record during the first week from August in Hérouville.

Do you have something to add?
VANDER: yes. I like everyone. And more particularly named the Gilbert Rovère, who plays at Martial Solal and allowed himself one day to judge Coltrane.

Thus spoke VANDER, the most violent musician of his generation.

6) Smart-Ass Rock' Roll Critic did not put back its feather in the inkpot and, while the ash of its cigarette flew without haste towards three centuries the old ashtray, the half one one hour that he did not know sounded with the belfry … (to be followed).

Rock'n'roll & Folk n° 55 - August 1971

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