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Thread: Featured album: Lard Free - Gilbert Artman's Lard Free

  1. #1
    That's Mr. to you, Sir!! Trane's Avatar
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    Featured album: Lard Free - Gilbert Artman's Lard Free

    http://www.progarchives.com/progress...26122017_r.jpg


    Lard Free - Gilbert Artman's Lard Free

    lf.jpg

    Tracks Listing:
    1. Warinobaril (3:46)
    - 12 Ou 13 Juillet Que Je Sais D'Elle (8:48) :
    2. Part One (5:13)
    3. Part Two (3:35)
    4. Honfleur Écarlate (4:48)
    5. Acide Framboise (6:45)
    6. Livarot Respiration (7:50)
    7. Culturez-Vous Vous Même (4:40)


    Line-up:
    - François Mativet / guitars
    - Philippe Bolliet / saxophones
    - Hervé Eyhani / bass, ARP synth
    - Gilbert Artman / drums, vibes, grand piano



    Here is what Guldbamsen (David) had to say about it on ProgArchives
    Sneak attack from the heavens

    In many ways jazz and Krautrock are highly reminiscent of each other. They both seek out the obscure in the music, those notes that hide away from the conspicuous. They share a love of the improvised in music as well - letting the mighty gods of interplay decide which way the winds blow, and then pursue the hell out of them on some of the wildest windswept journeys you´ll ever hear in your life.

    Where these waters meet, this album originated. -Brought into being by those parenting cultures, and then breaking completely free in what has quickly become one of my favourite musical hybrids. Whilst sharing many facets with the freejazz of the late 60s - especially in the frivolous handling of the saxophone by Philippe Bolliet, - the feel of those early Germanic explorations in electronics also flavours quite a bit of this record. This is one of the most compelling things to me personally, and it was also these electronics that drew me in to begin with. This album is not what I would call an easy listen - not at all, and I had some difficulties breaking through the rather avant garde like surface of it, when I first started listening to it. It had me crawling up the walls with its creepy froggy sounds that seemed to come out of nowhere, and those manic saxophone sections were far too haphazard and unharnessed to possibly be of any use in the music. But then I popped it on one evening after a long day, and I remember the sky was all bloody and black, like it was divided in utter beauty and pitch black evil. I was tired and irritated, and felt my head was somewhere, but not exactly there - not attached to me in any way - just flying about out there in the perimeter. Suddenly this album started to make sense. It felt organic and purposeful, although purpose might be a bit of a stretch when we´re talking about this kind of music, but for what it´s worth, I felt the world speaking back to me in this dramatic scenery and the accompanying music. The otherwise convoluted nature of the tracks unfolded before me like backwards origami, and everything fell into place.

    This album is largely built up around the absolute freedom of expression - meaning there are no boundaries and no "right" way to play the instruments, - and even though this freejazz mantra is right at the front seat of its creation, - the music coming out of the speakers acts very orchestrated and in tune with everything. Jumping from minimalistic grooves generated by the motorik laden drum work, not entirely unlike that you´ll find on a NEU! album from around the same time, - to the altogether more happening events of the lead instruments such as the electric guitar and saxophone - the textures of Lard Free´s debut differentiate between these wonderfully crafted musical entities. Just like in the aforementioned NEU! - there´s a certain natural progression attached to all these tracks, and the easiest way of describing this is by comparing it to a fountain or a cornucopia. Like turning on a faucet, and then the music just pours out freely without any hesitations or preconceived ideas. Its just there, and that is something which I find pretty amazing, because when you make music like this, there is an infinite amount of things that can go horribly wrong, but here it just doesn´t. It clicks. It happens and conducts itself on its own premise, and sometimes I´ve wondered whether the instruments are playing the musicians and not the other way around.

    This is Gilbert Artman´s project and what he does even better than drumming, playing the piano or sculpturing the cryptic sounding synths - is indeed acting like a psychedelic jazz head honcho from the outer rim of Krautrock - creating one of the most enigmatic and unique debut albums I have ever encountered. Much like Zappa was the conductor of his music, Artman too develops this album through the inspiration of the other people involved - swaying the outcome like a genuine classical conductor standing tall in front of the band wearing a black and white penguin costume waving a little stick maniacally around. I think he had an initial idea with this record - he wanted to make something free and in the vein of what unfolded, and then all these other French saboteurs came into the picture with loads of ideas and alternating perspectives - delivering the final spices to the dish. Just like Zappa, I think Artman did an outstanding job of keeping this project focused on the music at hand - and not only streamlined the whole thing, but also maintained that original spark that once originated somewhere in the embers of his own head.

    One of my most beloved things about this album is that whenever I play it, all of my surroundings seem to vanish in favour of the crimson blooded sky, that I told you about before. The colours of this angry and violent heaven slowly and quite beautifully cascade onto this music in the most wonderful and incomprehensible way - and I´m often left with an impression of having survived a sneak attack from a sunset trying to drown me in a blood-red glaze and the appropriate music to go with such a thing.




    my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.

  2. #2
    Member Steve F.'s Avatar
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    I pulled out and played all three Lard Free 70s albums only in the last 10 days and was glad I did so.

    I spent a lot of years tracking them down in the pre-CD reissue days.
    Steve F.

    www.waysidemusic.com
    www.cuneiformrecords.com

    - - - - - - - - - - - - - - -

    Any time any one speaks to me about any musical project, the one absolute given is "it will not make big money". [tip of the hat to HK]

    "Death to false 'support the scene' prog!"

    please add 'imo' wherever you like, to avoid offending those easily offended.

  3. #3
    I will take this opportunity to plug my much-ignored Gilbert Artman program on CKCU almost five years ago (!)

    https://cod.ckcufm.com/programs/462/27472.html

    As I said in the notes, I like the third one best, but it's all worth having.
    Infinite Ceiling on www.ckcufm.com every Thursday night at 8:30 with me or Mark Keill, archived shows: https://cod.ckcufm.com/programs/112/...tml?filter=all
    Electronic Meditation on www.ckcufm.com archived shows: https://cod.ckcufm.com/programs/462/...tml?filter=all

  4. #4
    Member Steve F.'s Avatar
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    ^^^^^

    I like the third one best also!
    Steve F.

    www.waysidemusic.com
    www.cuneiformrecords.com

    - - - - - - - - - - - - - - -

    Any time any one speaks to me about any musical project, the one absolute given is "it will not make big money". [tip of the hat to HK]

    "Death to false 'support the scene' prog!"

    please add 'imo' wherever you like, to avoid offending those easily offended.

  5. #5
    That's Mr. to you, Sir!! Trane's Avatar
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    I love all four of their albums (including the prequel Unnamed)... all three historical releases had their own sounds


    Sean, nice to hear your voice (I hate mine recorded or over the airwaves - maybe I'm too self-conscious) and great feature.
    my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.

  6. #6
    Great record, an alliance of electric jazz (Miles Davis is a clear influence) with the electronic sounds of Krautrock - done in an original way. All three of those Lard Free records are pure gold, I think the middle one - which is more experimental still - is my favourite.

    But I don't see any of the free jazz the reviewer is mentioning here.

  7. #7
    Subterranean Tapir Hobo Chang Ba's Avatar
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    Unnamed is my favorite from this lot, but I'd slot the debut in second. All four are top notch though.
    No humor please, we're skittish.

    Never let good music get in the way of making a profit.

  8. #8
    Excellent series of albums with the 3rd one considered as classic by my ears.
    Macht das ohr auf!

    COSMIC EYE RECORDS

  9. #9
    I like it.

    The only Lard Free I'm not that partial to is Unnamed, where too much of their Soft'ist leanings prevail. Nothing wrong with that particular influence in itself, but there were so many French and Belgian goups doing it with more finesse and idiosyncracy. Artman was better on finding his own way, as on the three LF albums "proper".
    "Improvisation is not an excuse for musical laziness" - Fred Frith
    "[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM

  10. #10
    Quote Originally Posted by spacefreak View Post
    Excellent series of albums with the 3rd one considered as classic by my ears.
    Do you remember when we were telling that Pinhas and Artman would be German collaborators in World War II ? They both sound more German than French to my ears.

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