Richard Pinhas

Guitarist, ideologue and SF fanatic, Pinhas has influenced a wide assortment of contemporary musicians and electronic composers. Though primarily remembered for his uncompromising work with industrial rock pioneers Heldon, Pinhas' solo recordings are vital expressions of his own personal commitment to the intersection of rock with philosophy, science fiction, technology and revolutionary politics. Metatron finds Pinhas in relatively calmer waters than on previous solo efforts - though not without a few brain-searing guitar leads for which he's well known. But overall, the twelve pieces on Metatron show Pinhas' maturation as a composer of sound as opposed to a composer of songs…

Richard Pinhas, the founder of 70s progressive legends Heldon, is one of the most uncompromising artists on the international rock scene, having remained constantly innovative and true to his personal artistic vision for 40 years and some 35 full length releases. Oren Ambarchi is a guitarist, drummer and sound-artist who has performed and/or recorded with a huge array of artists, including Fennesz, John Zorn, Jim O'Rourke, Otomo Yoshihide, Evan Parker, Merzbow and others. Since 2004, he has worked with the avant-metal band Sunn O))), contributing to many of their releases and side- projects. The music on Tikkun, which consists of three very lengthy tracks, comes across as a very tasty cross between the heavy, synth-driven, sequencer beats of classic Heldon and the much more noisier aspects of Pinhas' work over the last decade.

This was Heldon's last studio release, although the reissued Rhizosphere CD includes a 1982 Heldon concert recording with slightly different personnel. Stand By features the classic trio lineup of the brilliant Francois Auger on percussion, Patrick Gauthier on keyboards and Pinhas on guitars, keyboards and electronics, with some additional assistance from Didier Batard on bass, Didier Badez on sequencers and Klaus Blasquiz doing voices. The two long pieces on the CD are an interesting contrast. The title piece starts with some nasty distorted fuzz guitar from Pinhas over ponderous, menacing bass and drums. King Crimson at its most aggressive could be considered a model, but this track is also very close to the so-called "zheul" sound of Magma, another French prog-rock band of the period, which shared Pinhas' interest in science fiction motifs, among other things…

Between 1974 and 1982, Frenchman Richard Pinhas recorded at least twelve LPs either under the Heldon name or his own, alternating between guitars and keyboards himself and accompanied by a variety of associates on guitars, drums and analog synthesizers. This double CD reissue includes Heldon's very first release, Electronique Guerrilla, and their third, It's Always Rock 'n' Roll (itself a double LP originally). These releases are sometimes referred to as Heldon I and Heldon III (Heldon II, otherwise known as Allez Teia, was recorded earlier in 1975). In spite of the rather aggressive album titles, these early recordings are mellow to the point of ambient, and inscrutably (or perversely), there's very little music in the entire program which would be considered rock & roll by any stretch of the imagination…

25 Cuneiform artists cover the compositions of other Cuneiform bands! Essential for the Cuneiform fan and an excellent overview of what Cuneiform do for the novice. All tracks unreleased elsewhere. Over 2 hours of music by: Birdsongs Of The Mesozoic, David Borden, George Cartwright, Doctor Zero (Doctor Nerve + Univers Zero), Forrest Fang, Happy Family, Hugh Hopper, Henry Kaiser, Piero Milesi, Phil Miller, Miriodor, Virgil Moorefield, The Muffins, PFS, Philharmonie, Present, Rattlemouth, U Totem, Volapük and more!

Ukab Maerd is a project formed by two former members of the progressive rock band Djam Karet, Chuck Oken, Jr. and Gayle Ellett. Joining the duo is French guitarist Richard Pinhas (Heldon) who adds guitar loops on three of the four tracks.
Dreamy and surreal, this CD effortlessly combines the traditional sounds of European Electronic music of the 1970’s, with today’s more modern aesthetics. Much of this music was recorded live in Southern California, at two different performances by Oken and Ellett. Later, Richard Pinhas’ processed guitar loops were blended into the mix, with Oken adding in a few additional new tones as well, creating the final release…

Heldon's real excellence as a band is dramatically demonstrated with this fine recording. A dashing young left-wing intellectual, Richard Pinhas was something of a cult figure in his native France, or at least had the potential to be one, but he wisely rejected the role of rock & roll guitar hero with backing band, in favor of something much more interesting and radical. Patrick Gauthier on moog and Francois Auger on percussion had played with Pinhas on and off for the previous several years, and at this point they had developed into a solid sympathetic unit with a strongly rhythmic orientation. The intricate interlocking rhythms, created by percussion and several synthesizers, have a proto-techno quality at times, and suggest both the German group Can and, on at least one piece, early Ash Ra Tempel…

OSE was the project of French multi-instrumentalist Herve Picart. He plays moog, organ, guitar, bass and slide guitar. He also composed all the songs here. He brought in an Electronic legend and fellow country -man Richard Pinhas from HELDON who also plays guitar and moog but also sequencers and synths…

With the possible exception of Richard Pinhas' Heldon, Gilbert Artman's Lard Free was probably the premier French progressive group of the '70s. The prolific Heldon might win in terms of amount of material, but the three near-perfect albums by Lard Free (despite the truly wretched band name) probably have them beat in terms of overall quality. Although Artman, a drummer who also dabbles in synthesizers and piano, called Lard Free a group, he was the only constant member; all three albums have different lineups. 1973's Lard Free consists of relatively short pieces with prominent piano and saxophone parts, and as such is the most jazz-oriented of the three. The following year's I'm Around About Midnight consists of three long pieces with much more synthesizer; at times, it sounds almost like early (pre-ambient) Tangerine Dream, or perhaps Clear Light, the French collective Artman and the then-current lineup of Lard Free occasionally worked with around this time. 1977's Lard Free III, also known as Spirale Malax, is Artman's best work, a pair of side-long experiments that combine space music, jazz, and King Crimson-style heavy progressive rock better than many groups (including King Crimson) could ever hope to manage.

In the ’70s, David Bowie looked to Europe for the future of rock. He found Can, Cluster, Popol Vuh and Michael Rother – just four of the 15 artists on this mind-altering compilation. Vorwärts!