Lard Free / Heldon: An Examination Of Directions In French Progressive Rock (Part II: 1977 - 1980)

by Doug Walker

From Aural Innovations #5 (January 1999)

Pinhas recorded "Rhizosphere" during the Fall/Winter 1976-1977, and was able to get the LP released on both Cobra in France, and "Inner City" records subsidiary "AURAL EXPLORER" in the USA and Canada, and is the only one of his LP's on which he plays no Guitar, opting for the creation of pieces utilizing Moog 55 and ARP 2600 synthesizers in a series of short studies.

"Rhizosphere Sequence" opens the proceedings with a 4-note sequence taken at varying speeds until it settles into a nice groove which modulates through an interesting progression as Pinhas alters the speed of the sequence throughout. The sound is robust as the bottom is played by a lovely drone out of the Moog.

"Piece for Duncan" begins with various filtered high-frequency sweeps, and yet another of Pinhas' simple but effective melodies, which are multi-layered by being played on the Moog's keyboards, and given a harmonic anchor by a simple series of sequenced notes weaving in an out of the mix, then disappearing as other notes are injected into the filter and processed.

"Claire P" is the study of a rhythmic/melodic sequence, swept by the filter, layered to form a polytonal drone, while a serious melody is played on ARP 2600. This track is dedicated to Phillip Glass and maintains it's identity as Pinhas' music, even while dealing with trying to recreate some of the rhythmic dynamics of Glass' music.

"Trapeze/Interference" presents the listener with a deep dark Legato Bassdrone, through which the Moog's bandpass filter is swept. The quality of Pinhas' synthesis allows one to sink down into this track, like a ray on Moonlight coming through the bedroom window on a summer's night. Warm and mysterious, but familiar as well.

Synthesized percussion and enveloped high frequency swoops, then phase-shifted drums begin to set up rhythms against the sequenced White noise introduce "Rhizosphere". Drummer Francois Auger sounds quite comfortable playing against the sequencer rhythms, and although one might expect to hear either Pinhas' Guitar or a synthesizer lead, the solo instrument here is the drums, and unlike the previous attempt (Heldon IV), this time the idea works due to Auger's melodic inventions and the Bassdrone of the sequence (which signals each group of four measures).

When originally released in June 1977, the LP was limited to these five tracks. Although not hard to find in both Rock and Jazz Record stores, the release was not promoted by AURAL EXPLORER. It got very little critical review in the "Progressive Rock"/Underground Press, and was quickly relegated to cutout bins when Inner City canned the Aural Explorer subsidiary, having failed even to release the other record they had planned. The current CD reissue includes a number of tracks from a 1982 performance in Paris, but will be dealt with in the next installment

1977 saw more activity by LARD FREE as well, although constant personnel changes had split the band's music into two different entities, live and studio. Live tapes of shows from that time reveal LARD FREE to be a hard hitting, rocking live band. "LARD FREE III" displays concerns in a more Electronic Music direction. "LARD FREE III" also appeared in June 1977, and was planned for release on AURAL EXPLORER", (there's even a blurb for it and URBAN SAX I on the back of Pinhas' LP "Rhizosphere") but it turned up on Cobra and was released only in France, and available only as an import. One notices immediately that the band has become Gilbert Artmann (Drums, Percussion, Vibraphone, Synthesizers & Keyboards), Xavier Balleret (Guitars) ex of "Hydravion", and Yves Lanes (Synthesizer).

"Spiral Malax" is a tune divided into two parts, the first being driven by Sequencer, Hammond Organ, guitar arpeggios and taped, treated percussion and drums. The sequencer ostinado providing a pulse on which the other parts are either derived, or ignored to have taped sounds both providing a harmonic canvas. Slowly, the track unfolds and progresses into a serious Guitar interlude, Balleret wailing over his own multi-tracked Rhythm Guitar, and Artmann's Drum ostinado replaces the sequencer. The original sequence is faded back into the mix, becoming interlocked with the drum/Hammond ostinado which rides to the end of side A of the record.

"Synthetic Seasons" (side B) opens with Hammond, Glissando Guitar, Synthesizer and one of Artmann's best known drum patterns. Rhythm guitar shows up to reinforce the drums, but the track fades into a quick interlude, then up comes another Drum ostinado over which the Guitar solos while the other guitar track plays variations on the ostinado. Guitar solos here, with obvious Pinhas-like dynamics and inflections, then is overtaken by Piano and Vibraphone, all blended into a polyrhythmic/polyharmonic brew, which then progresses to a trio section of Glissando Guitar, Piano, and Clarinet, with slide whistle and synthesizer obbligato.

The last movement is an all out rocking affair, reminiscent of the previous LARD FREE record, plenty of Guitar and Synthesizer, under which Artmann plays with shifting accents, rests, and shifts the beat to various drums within his kit. Tour de force material, but the CD reissue is only 34', quite expensive for an import. One wishes for more at a price of over $20.

By contrast, 6/3/77 Paris is a live tape (available amongst traders) that displays all of LARD FREE's strengths. The band seems to be Artmann (Drums, Drum machine, Vibraphone), Balleret (Guitars), Lanes (Synthesizer, Unknown BassGuitar, Keyboards/Violin, performing at the Anti-Chose (?) Festival of the French Communist Party.

They begin the proceedings with a drone piece for Synthesizer, Organ, Glissando guitar and Vibes, over which comes a familiar Synthesizer ostinado, and a quick drum flourish and announcement by Artmann gets the band into a new piece, introduced by Glissando and BassGuitar. Guitar and Electric Piano comp over the rhythms, while Artmann slips the drum rhythm right into the bottom and they play out the tune majestically.

Immediately they jump into "East Baskistan", vibraphone and Violin dancing over what sounds like a Roland CR-78 Drum machine, while Guitar and BassGuitar allow the violin plenty of space to duet the Vibes before falling into the out riff with Artmann rocking the drums, providing an excellent bedrock for a serious guitar solo by Balleret, the whole piece resounding with Soft Machine influences. They finish in a flourish, on the beat, and the audience shows great appreciation.

Next up is a swirling improvisation based on a drone by Echo Guitar and Organ, rolling "free" playing by Artmann, the Guitar and Organ phase-shifted so the sound moves around. The piece is short and effective and sets up the last tune, which begins with one of the sequences from "Spiral Malax (released on LARD FREE III), the organ drone up under the sequence. Another ostinado is played by BassGuitar, while Artmann fades an unusual Drum pattern into the sequence. Balleret turns in a great solo la Pinhas, then falls to a counterpoint line to the sequence and drum rhythm. The violin gets a solo in the last few minutes of the piece, fading into echo as the tune ends. A fine date, but it is the last evidence of Lard Free as a band I've been able to find. Gilbert Artmann's next project was quite different!

Pinhas began work on the next Heldon recording in February 1977... the results were an extension of the ideas first articulated on "A DREAM WITHOUT REASON", and feature Francois Auger on Drums & percussion, Patrick Gauthier (Keyboards and synthesizers, ex-Magma) joining The man and his Moogs and Guitars. "INTERFACE. HELDON VI" (released Jan 1978) is an amazing display of serious Electronic Rock Music, reflecting all the positive attributes of Rock music without sentimentality, ignorance, or jive. Just hard hitting hard rocking stuff. Everything about this release is intense, from the Alien on the cover, to what may be the epitome this composer has produced.

From the very first notes of "Les Soucoupes Volantes Vertes", the listener is immediately drawn into the music's high energy flow by a simple 2/4 pattern from the sequencer, as Gauthier comps a Bassline on MiniMoog, holding down the bottom for Auger's melodic drum patterns. He toys with the off time as the layered synths lay it down hard.

"Jet Girl" follows, based on a melodic sequence, and introduces Pinhas' Guitar, which sounds like a hybrid of Fripp-like sustain, Hendrix articulation, and the fire of McLaughlin. Pinhas' title implies his affinity for large cities (Heldon music is an Urban music) as the sequence cycles through, whilst another slower line is faded up and Guitar is allowed to explore the territory. Auger plays the slower rhythm and adds percussive accents from treated cymbals. A second Guitar solo comes up out of the mix, also distorted and sustained beyond belief (think I can hear those Marshall Speakers Blowing from here).

"Le Retour des Soucoupes Volantes" is an extension of the first piece, Gauthier taking quite a succinct JazzRock Moog solo, note wasting notes while the Bassline is articulated by Moog BassSynth (a great Lost and forgotten axe).

"Bal-A-Fou" is a fragment from what sounds like an extended Jam, and is the only track on this release to include Bassist Didier Batard. These interludes also feature strong percussion and some straight piano from Gauthier and fairly funk chords from Pinhas. The thing progresses as Gauthier takes simultaneous (multi-tracked) solos on synth and piano, and there's a BassGuitar solo here BUT THE ENTIRE TRACK IS TOO SHORT, and inconclusive. One wishes for more, to hear where these very competent players will take a rather conventional jam.

"Le Fils des Soucuopes Volantes" (Vertes) is cut from the first jam, and upfront is Pinhas' nuclear-powered Guitaring, running full speed, Guitars waling in both left and right sides on the stereo field. Next up are two tracks not included on the original release. This version of "Interface" was released by WEA on a Heldon compilation LP in 1985. Recorded Live at the Palace Theater (Paris, France) in June of 1978, the piece is brimming with energy from the start. As the sequencer bangs away in 4/4, Bass Synth works off the drum line as Pinhas fires up the Guitar, displaying all his skills as a true original voice on this instrument. His solo is pure intensity, the sound covering almost every range the guitar can muster. However, in a tribute to stupidity, for some reason the track fades in the middle of his solo and seems to come back in at the end. Whoever is responsible for a horrendous cut like this should feel shame. WE NEED THIS ENTIRE CONCERT ISSUED, not just this poorly edited snippet.

Finally we get to the original version of "Interface", beginning with treated drums playing alongside the Sequencer and accented by phase-shifted cymbals. More drums roll in, and Auger plays with and against the rhythm as Synthesizer Glissando forces its way into the mix, panned across the soundfield. Drums respond to the change, and then help to bring in that familiar 4/4. Auger really takes off into bizarre but appropriate arabesques, both in and out of rhythm, setting up the entrance of the Guitar, Bass Synth keeping the whole piece moving forward. From here on out, the Guitar rides over the band majestically, Pinhas articulating a different road than the bloozy-woozy mess most Guitarists play, leaving a trail of smoking Amps, speakers sounding as if they're disintegrating, Guitar sustaining for days. Gauthier takes his solo, as yet another sequence is added to the mix, and Pinhas restates the Melody and blazes to the outro as the entire band comps against the sequence. We get another Bass synth solo, and finally the CD ends with Pinhas scooting over a Chuck Berry Riff just to remind us we've STILL been hearing Rock & Roll, something many who utilize the technology forget.

The CD does contain a plus in that there is a Fine picture of Richard and some of his Moog equipment on the booklet. This is a must have CD for any SpaceRock/Electronic/Progressive music aficionados. Ignore it at your peril folks.

Meanwhile, Gilbert Artmann, in conjunction with Lard Free, had begun work on an ongoing project, URBAN SAX, which is without doubt one of the most unusual musical endeavors attempted in the Western World.

An Ensemble of Voices, percussion, and massed Saxophones, the music actually owes more to the work of Terry Riley, Philip Glass, or Lamonte Young than what one would expect from massed saxophones. "Urban Sax I" was issued by Cobra records in early 1978, and although licensed to AURAL EXPLORER (a subsidiary of Inner City) for US release, the LP was never issued in the states where their music was roundly ignored.

The first documentation of this concept is from a bootleg tape of an in concert performance 6/16/77 in Paris. The ensemble is at least 20 Saxes, and Artmann conducts the band through a variety of modes, some free articulation, and then cycles into the compositions. The sound is dissonant yet soothing, almost meditative as well as being percussive, most of the tempos based around 1/4 and 1/8 note pulses. Unfortunately, I've only been able to get 30 minutes of this concert so it cuts off in midstream.

A slightly smaller version of the band recorded an LP in fall 1977, and it was issued in February 1978. The LP begins with dissonant chords played by eight Tenors and eight Altos, a few of whom double on Baritones and Sopranos, while a drone is maintained underneath. A familiar melody (originally played by LARD FREE) is stated by of the Saxes, but more slowly and sedately than the original. The Altos and sopranos state a variant line, while Tenors and Baritones hold down the bottom in a dense, thick mixture. No one horn is ever heard as a soloist, but each player is allowed to manipulate his tone, or engage in blowing harmonics or polytonics to enhance the drone underneath. The melodies are developed over rhythmic eighth note patterns, and variations of the downbeat. Breaths and rests are exploited to give variety. This is a stunning debut which cannot be ignored, and should not be missed.

Another bootleg tape seems to originate from a live radio broadcast from an undated 1978 Paris show. The quality is quite good, and the ensemble is able to flex itself and reach equilibrium. One gets the impression of hearing a collective consciousness from the approximately 30 Saxists. This is a majestic sound. There is a richness and humanism which combine with the melodic simplicity to create music which defies definition, stereotype, or categorization. The Baritones carry most of the bottom, Artmann writes their lines clearly, with cleanly articulated rhythms, and moves the other voices over the top in a fashion akin to that of Ravi Shankar's music. This tape too is cut off before the end of the show. Yet, one is deeply impressed by the show, the control of the orchestra by Artmann, the innovative formulation of his compositional concepts, and his group's execution.

Heldon moved into 1978 in good stead, Pinhas taking some time off to become involved in sessions with fellow Parisian Herve Picart's "OSE", recording an LP for EGG Records ("The Most Progressive Music Experience") which took place in June. The result was entitled "Adonia", and has to do with goings on in an earth colony on a distant planet. Picart's (Synthesizers, Keyboards, Guitars) compositions are in the French progressive tradition, but that not withstanding, the presence of Pinhas (Synthesizers. Sequencers, Guitar) and Francois Auger (Drums) assure that this is a Heldon LP, despite Picart's composition of this suite.

"Approche Sur A" kicks off the LP with a drone in A major, over which synthesizers and guitar are layered, and the sequencers pulsate into a drum groove, and cycles through a rather conventional "Prog Rock" chord progression, Picart's Blues guitar contrasting with Pinhas' quantum power sound.

"29h O8 mn" opens side B with another sequencer/drum groove, which enters after an echoed Moog solo. Then the counterpoint melodies are faded in, the middle being filled by polymoog chords as the soloist uses the Minimoog Pitchbend for emphasis. Doubletracked guitar (Pinhas) and synthesizer herald the drums, another counter rhythm being setup, varied, and tossed in and out of the sequencer groove. Unfortunately, the track fades before it takes off.

"L'Aube Jumelle" arrives next on a bed of White noise, and a Klaus Schulze-like synthesizer solo by Picart, those Rick Wright chords enter again behind a nice little double-tracked "Space Blues" guitar solo.

"Retour sur Adonia" closes the LP, once again the tune is almost straight progressive rock, pushed along quickly to conclusion by Pinhas' sequence. An interesting LP that gives an insight to the ability of these musicians to bring together two related but oft divided musical streams.

Working his association with Herve Picart, Pinhas was able to get HELDON signed on with Egg records, and set to work on his next release, "STAND BY", recorded April through October 1978, and released in March of 1979. Commercially the band's most successful LP, the music attracting a diverse group of fans from the Progressive Rock, Fusion and Electronic Music communities. One notes with great interest that the CD reissue of this release has been completely reworked with different track arrangements and track titles scrambled. This review will utilize the topography of the original release. For this outing Pinhas (Guitars, Synthesizers, Sequencers) has assembled a band that includes Francois Auger (Drums and Percussion), Patrick Gauthier (Synthesizers and Keyboards), Didier Batard (BassGuitar) and guest appearance by MAGMA vocalist Klaus Blasquiz.

The work begins with an extended piece entitled "Bolero", a seven-part suite that opens with Blasquiz treated vocals against Piano and sequencer, which fades out to a pause. Then the band enters led by some serious Metal guitar from Pinhas, and killer backbeats from Auger, Batard holding down the bottom end tight, allowing Pinhas to take a fine Fripp-inspired solo. The band shifts uptempo moving into a round of minor chords, then a beautiful Sky-saw snakefinger Guitar display against the sequencer. During this recording Pinhas acquired a large E-MU Modular Synthesizer, and interfaced it with a pretty amazing Sequencer built by French EM technician Didier Badez. The switch in Synthesizer equipment is noticeable, the E-Mu having very distinctive-sounding Oscillators, Filters, and an excellent series of Envelope Generators. The last section of the Bolero is a slow 4/4. Richard's FuzzGuitar leading the way with Hendrixly-voiced Chord voicings, the FuzzBassGuitar adding to the drama, yet the piece is constructed using very simple chords.

"Une Drole de Journee" begins slowly, synthesizer filter sweeps and tubular bells open into a march rhythm from the drums, accented by the sequencer as the composition moves through another minor chord progression. Vocalist Blasquiz is heard again, his voice being synthesized as the sequence moves uptempo, filter sweeps panned left to right as Gauthier sounds the chords on PolyMoog. The piece fades into white noise, out of which rises one of the prettiest sequences Pinhas has composed.

The band joins the 3/4 swing of the tune, as Pinhas' double-tracked Guitar solo burns with intensity, and Drums and BassGuitar play against the sequence as it is swept by the filterbank of the E-Mu. Auger drops in little percussion rolls over the rhythm, and Gauthier floats in over the top with his MiniMoog, also panned left/right. They ride the tune blazing to conclusion, Gauthier taking a quick solo over the outro. This is an amazing, impressive release, and it helped finally to attract some attention for Pinhas' music. The LP got noticeable reviews in Melody Maker (UK), Disc (France), Trouser Press (USA), and found radio airplay on a number of underground radio stations in the US. Egg Records actually did adequate promotion for the LP, and it was widely distributed. The cover of the release itself was highly visual, featuring a figure in a radiation suite being pierced by an Argon Laserbeam!

In March of 1979, Heldon undertook a number of Gigs outside their Parisian homebase. Recorded 3/19/79 in Nancy, the cassette provides an excellent example of how this music sounded before live audiences. The band on this date is Pinhas (Guitars, Synthesizer, Sequencer, Tapes), Patrick Gauthier (Keyboards and Synthesizers), and Francois Auger (Drums and Percussion).

The copy I've obtained opens with what sounds likes the end of "Marie Virginie C", drums rolling through the end of the piece. The meat really starts in the next piece, a version of "Les Soucuopes". Drums and sequencer toying with a melodic pattern, which gives way to a strong 4/4 Rhythm as Pinhas' Nuclear-powered Guitar comes in over the top and way out, burning the place down in conjunction with the driving drumbeat. Guitar Powerchords, and RP's patented sustain are put to maximum effect here as he cuts up just about every one of the JazzRock fusioneers of the day as filtered and unfiltered counterpoint sequences and Moog fills from Gauthier ride the piece to the end, and sequenced white noise works us into the familiar strains of "Rhizosphere". Auger takes to the sequence with a display of drum prowess, synthesizer sweeping on top coloristically as Auger subdivides the beats of his phrases, building up the rhythmic stew to the boiling point as the sequence also gets to insane tempos leading to a strong finish of drums.

After repatching, "Toward the Red Line" (from "A Dream without Reason" LP) is quickly entered into, Guitar back to lead the charge and Gauthier comping the Bassline, and synthesizer (sounds like EMS AKS) sweeping through. The piece winds down into the white noise patch again.

"InterFace" is the next number, and it is gotten to quickly after a short melodic sequenced intro. At once Auger finds and exploits the rhythm, whilst Pinhas brings the Guitar in almost sedately and Gauthier plays a strong Bassline. RP continues to flesh out his solo, sustaining with his unique blown speaker sound going higher into the void. The thing explodes as the audience is pulled along. RP invokes the Hendrixian spirit in his feedback, and by his interplay with Auger's drums. They slowly fade the piece back into an interlude of LFO-modulated Filtered Oscillator, which serves as an intro for "Paul Artrides"(from "Chronolyse"). White Noise, droning synthesizers, mellotron and tubular bells settle the piece in, yet it too becomes charged with the almost uncontrollable energy of this band. Auger sets up a slow 4/4, as both Gauthier and Pinhas manipulate the tron (part of this section is inexplicably cut on my copy of the tape) as white noise punctuates, and Guitar finally joins in, there's more tron and the piece fades back into the drone. At the end, the tape cuts again, but despite being incomplete, a good example of how tragic it was that Pinhas abandons the idea of "HELDON" shortly after.

In an interview with EUROCK magazine (4/80), he explains that it was simply to costly and involved to put Heldon on the road, and was forced to revert to solo expressions despite the relative success of the "Stand By" LP.

April 1979 saw the release of URBAN SAX II. As director/conductor Artmann began to arrange outdoor venues in large Urban Public spaces throughout Europe. New players were added, with the ensemble growing to over 30 saxophonists (Tenor, Alto, Baritone, Bass; some of the Altos and Tenors doubled on Soprano) The LP possesses the same attributes of the first, giving the listener a clear idea of the material the group plays live. It's the LIVE PLAYING that makes URBAN SAX one of the most revolutionary musical endeavors of the Post WWII period.

The band's equipment and stage attire were a mixture of Avante-Garde Theater and serious technology. Each player is dressed in a White Industrial Coverall, Robot-like Facemasks, and Space Helmet, which is outfitted with a receiver and transmitter, the signals of which are relayed via a specially constructed mixer/radio transmitter/receiver. In this setup, the players can hear, a) themselves, b) their section, c) Artmann's directions or any combination of such. The result is visually arresting, and somehow seems to fit perfectly into an urban landscape.

In 1980, URBAN SAX was invited to Venice Italy to celebrate that city's 500th year anniversary. The event was capture by RAI-TV Italy and has been traded often by bootleg collectors.

The clip opens with the Altos and Tenors floating into view on canal barges, led by Artmann, who is directing the ensemble with dramatic gestures, as the horns explore octave pitches. On land, near the city's Central Cathedral, the Baritones, Bass Saxes and dancer vocalists parade before a crowd of onlookers, some dressed in period costumes. They introduce a bottom over which the others sound dissonant chords, as the barges dock near the Cathedral, and the entire ensemble begins to invest both the inside and outside of the ancient building, playing through the riffs, melodic structures and Rhythmic chants of the music to an utterly stunned audience. The music reaches an intensity, coming to a climax and dead stop. All musicians turn, and begin filling out, the horns sound a drone over which a melodic bit is played with bells and tuned percussion by some of the vocalists. They return to the barges, the low horns shuffling out, then the video clips to the reassembled group entering the Central Railroad Station, boarding the trains and shipping out. The entire clip is about 12 minutes long, but is some of the best music video I have ever seen. This band is amazing live. I will detail my experience seeing their only NYC appearance (1989) in part 3 of this study.

In 1979, Richard Pinhas recorded his final solo LP of the Seventies. "ICELAND" was issued on POLYDOR in France, and became available in the US as an import in December of that year. The currently issued CD also includes a track recorded in 1983, and this will be dealt with in part three. Musically, the LP is in keeping with Rhizosphere more than the previous band releases.

The original release contained 8 titles, beginning with "Iceland Part 1", whose theme is stated by Pinhas on PolyMoog. A short rest and the sequencer announces "Iceland Part 2", as RP slips in more PolyMoog in front of the sequencer, moving the piece through a series of whole measure chords which resolve into a variation of the "Iceland 1" theme. Over this are occasional comps from a sample/hold driven filter. In the background, a tape of slow speed modified voice appears like a random radio signal, or telepathic voice trying to cut through the mind's fog. You hear it, but can't quite make out the words, a half-remembered dream whose memory fades upon awakening. The entire piece rides on the pulses of the sequence as the voices pan left/right.

"The Last Kings of Thule" is a vehicle for Guitar and Sequencer, which bangs away in the tune like a giant clock, or some kind of industrial plant of the future. As usual, Pinhas' Guitar roars over the top, and ends quickly as the track halts.

"Iceland Part 3" enters slowly on a drone, using another variation on the chords of part 1, but played in the lower octave. The sample/hold generator is heard again, it's entrance more subtle than in part two, and those voices make yet another appearance. Pinhas creates chords on the PolyMoog, modulating certain intervals to create a plastic, almost Indonesian musical tonality.

"Indicatif Radio" is a short piece driven by the PolyMoog's Sample/Hold, the filter resonating on different steps. "Last Kings of Thule Part 2" comes up next, for nuclear guitar in the mix by that big atomic clock. Guitar gets shifted across the stereo field for effect, then double-tracked, each solo hitting improvised harmonies as well as playing in unison.

Percussive "Short Transition" sequences finally lead us into the LP's most melodic piece, "Greenland". Pinhas in joined here by Francios Auger on Drums and Vibraphone, and Keyboardist Jean-Phillippe Goude on MiniMoog. This is a fine tune, built on yet another gorgeous yet simple sequence, the line stated by Goude, and the counterpoint by Pinhas, Vibes providing harmonic thickness by sounding different intervals of the root chords. Another sequencer is panned left/right over the top, and the main melody gently breezes the listener out, a light contrast to a very tonally dark release.

1980 saw URBAN SAX performing in Paris and Germany, and an interview with Pinhas appeared in Eurock magazine (US). Reprinted from ZiGZaG (France), Pinhas declared that HELDON was put on hold due the costs of running the group and attempting to back up record releases with live dates. He continued to record and perform into the 1980's, which will be dealt with in Part three of this article.

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