MA BANLIEUE FLASQUE: extraits du Web ...

18 septembre 2008

MA banlieue flasque

MBF drew its inspiration from three sources: from MGP with its changing rhythms, pronounced liking for themes ruptures and a certain melodic and instrumental research; from GONG with its folly in terms of music and lyrics; from ZAPPA with its sense of pastiche and caricature. CAM a attiré son inspiration à partir de trois sources: du POP avec l'évolution de son rythme, goût prononcé pour rupture de thèmes et d'un certain mélodique et instrumentale de recherche, de GONG avec sa folie en termes de musique et de paroles, de ZAPPA avec son sens du pastiche et la caricature. These different influences combined to produce a lively, rich and captivating music full of allusions to MAGMA, ZAPPA and GONG. Ces différentes influences, afin de produire un animé, riche et captivant de la musique plein d'allusions à Magma, Zappa et Gong.

LP Ma Banlieue Flasque Ma banlieue flasque (Celluloïd LTM 1.021) (Celluloïd LTM 1,021) 1979
extrait de : Discographie du Rock Français . B Gueffier et Francis Grosse .

20 juin 2007

Reviews:

Mike McLatchey	11-August-2002	Ma Banlieue Flasque
Ma Banlieue Flasque (1979) (Celluloid LTM 1.021) Nothing does crazy like French experimental music, but some of it wouldn't have been done in the first place if it wasn't for Frank Zappa. From the opening vocals on the album, it's evident that, vocally, the intent is satirical and humorous (although most of this is lost on me, due to the language), and the falsetto is typical of Frank and co., especially in the "Baby Snakes" days. MBF have a guitars/sax/flute/bass/drums instrumental line up and there is plenty of room for instrumentals once the initial "13'20 D'Happiness" is over. "N.S.K." shows strains of "Legend" period Henry Cow, with more falsetto vocals, and some very nice drumming. I think it's about two minutes into this track that you hear one of the first of several instrumental jams on the album, definitely what make this piece compulsory. Brilliant drumming, a chance for some really nice solos, including bass. A Canterbury-like flavor permeates, subtly similar to early Caravan's jams, a great piece of music. The album really escalates in quality from here (don't let the first track put you off.) "H.B.H.V"'s slight Happy the Man feel is quite captivating, although the scaling is slightly off-kilter, and when the lead guitar kicks in, you start to realize how much Gong is going on here as well. The last two tracks continue at an incredibly high level of energy, the music just gets better and better. No doubt there were some RIO connections going on, there's some excellent playfulness here that only the best musicians master, an interplay that is on an unusually high level. A great one-shot, no doubt, recommended to fans of RIO, Jazz, and Canterbury. (Originally published in Exposé # 17, p. 26, Edited for Gnosis 8/11/02)
Links for further information

Mike McLatchey

11-August-2002

Ma Banlieue Flasque

Ma Banlieue Flasque (1979) (Celluloid LTM 1.021)

Nothing does crazy like French experimental music, but some of it wouldn't have been done in the first place if it wasn't for Frank Zappa. From the opening vocals on the album, it's evident that, vocally, the intent is satirical and humorous (although most of this is lost on me, due to the language), and the falsetto is typical of Frank and co., especially in the "Baby Snakes" days. MBF have a guitars/sax/flute/bass/drums instrumental line up and there is plenty of room for instrumentals once the initial "13'20 D'Happiness" is over. "N.S.K." shows strains of "Legend" period Henry Cow, with more falsetto vocals, and some very nice drumming. I think it's about two minutes into this track that you hear one of the first of several instrumental jams on the album, definitely what make this piece compulsory. Brilliant drumming, a chance for some really nice solos, including bass. A Canterbury-like flavor permeates, subtly similar to early Caravan's jams, a great piece of music. The album really escalates in quality from here (don't let the first track put you off.) "H.B.H.V"'s slight Happy the Man feel is quite captivating, although the scaling is slightly off-kilter, and when the lead guitar kicks in, you start to realize how much Gong is going on here as well. The last two tracks continue at an incredibly high level of energy, the music just gets better and better. No doubt there were some RIO connections going on, there's some excellent playfulness here that only the best musicians master, an interplay that is on an unusually high level. A great one-shot, no doubt, recommended to fans of RIO, Jazz, and Canterbury.

(Originally published in Exposé # 17, p. 26, Edited for Gnosis 8/11/02)

Links for further information