Interface (Heldon VI)

by Heldon

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cinnamondestroyer I had an original copy of this album that an older, greasy haired music nerd (hey that might've described me, except for the older part!) handed me a vinyl copy and said he had 2 and just wanted it to go to someone who might enjoy it. I was probably 15. it took many years, but I listened to it one day and said "YEAH!"
Weird time signatures, space guitar, incredible drumming, rhythmic synth blorps.
At some point it left me. SO happy to buy it now!!!

Frederik Gonzalez Olsen The album cover sets the mood perfectly before you even get to hear the first note. The penultimate Heldon album is a trip into a cyberpunk soundscape dominated by shimmering sequencers, gnarly guitar workouts and funky drums. Still challenging and still fresh.

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Compact Disc (CD) + Digital Album
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	1.	Les soucoupes volantes vertes 02:28
	2.	Jet Girl 09:51
	3.	Le rétour des soucoupes volantes 02:22
	4.	Bal-a-fou 07:24
	5.	Le fils des soucoupes volantes (vertes) 01:48
	6.	Interface 19:03

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Buy the CD/Vinyl here:
shop.tapeterecords.com/heldon-interface-heldon-vi-preorder.html

Originally released in 1977.

Spoiler alert. A brilliant moment occurs right at the end of 1977’s Interface. The album’s final song, its side-long title track, builds up slowly into a roaring tornado of fiercely mutating drum patterns, effervescent synth work, and guitar licks that wail into the atmosphere like an abandoned astronaut. Then, after nearly nineteen minutes of highly futuristic avant-garde space rock, this ultramodern music fades out and is replaced by a concluding few seconds of traditional blues-rock guitar. “We were finishing the track, the tape was rolling, and I started to play a normal boogie or whatever,” remembers Heldon leader Richard Pinhas. “I think it was a good idea to keep it. It just came naturally, at the end.”

This event acts as a reminder of just how far rock ’n’ roll had been transformed since its earliest incarnations. This blueprint had been jolted and nudged down all kinds of unexpected avenues after players like Chuck Berry and Bill Haley first found fame. The genre had branched out into every manner of mutated form. It had given rise to misshapen clones and had shifted into unrecognisable shapes, like a beautiful alien creature from one of the science fiction tales that were fondly admired by so many experimental rock musicians, Pinhas included.

Pinhas is now approaching his 70s. His music has not aged in the same way. “It still sounds modern,” he says proudly. “It could have been recorded yesterday. Nothing gets old with this.”

That’s rock ’n’ roll for you.

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released January 31, 2020

2020 Bureau B

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