SEAMUS: Zealorty Sterblichen Schizophrenia

 Musea Records


1. Görlitz 1941 1:45
2. Berbex Sum Lupuscue Non Timeo (Pandora's Box) 6:34
3. To Vap (I. Part One) 2:42
4. Y 7:31
5. Pfifferling 1:09
6. Zwichen Lachen Und Träne 14:10
7. Porte D 2:42
8. Freudstein (Pilgrim Day) 5:41
9. Tren Gescpent 2:17
10. To Vap (II. Part Two) 3:51
11. To Vap (III. Part Three) 1:58
12. Random 7:16
13. A. Frank 6:01
14. Zealotry Sterblichen Schizophrenia 0:41

E. Lorien Spinelli guitar, voices, samples, computer effects
J.-M. Unglas guitar, voices,additional drums, bass
B. Rossignol keyboards
S. Auger drums, percussion, percussive string
E. Debodinance bass guitar

Grègory Hiest lead traverse flute, piccolo flute, trash flute
Kenshi Izumo traverse flute
Nathalie Tafelmacher voices, poems, german voices, screams
Juan Jimena cajon, zapateado, spanish voice
Christophe Geiller violin, alto violin
Faiza Kangoor japanese, indian, tamoul, hebrew vocals

"SEAMUS is a French band including five musicians coming from both sides of the Channel, helped by many guests on flute, voices, violin, etc. The Progressive rock is to be heard in the true meaning of the term: a musical fusion of the existing musical trends to create something new. Recorded in the year 2006 on the Musea label, "Zealotry Sterblichen Schizophrenia" (2006) is a concept-album dealing with deportation and the "final solution", responsible for murdering millions of innocent people. The music may remind the "dark side" of Progressive rock music, like KING CRIMSON (Mostly), VAN DER GRAAF GENERATOR or MAGMA, but also classical composers, contemporary and electronic music or jazz-rock. And the list goes on... This first album is an attempt to suggest the horror with music and sound effects, including human voice often used like an instrument. It's original, often melodic, suggestive and intense. A musical and existential experience to live ! " MUSEA Records



"SEAMUS is a group comprising the six musicians whose names you see in the lineup above, However their debut CD, "Zealotry Sterbuchen Schizophrenia", features also five guest participants (two female singers, one male narrator and two flute players), each hailing from a different country, some Asian ones included.

Analysis. The album contains fourteen tracks, precisely half of which clock in at two minutes on average, whereas almost all of the others range from six to fourteen minutes. In the great majority of cases, the shorter tunes strictly alternate with the longer ones, and unlike the latter rarely reveal a full-band sound. The title track and Tzen Gesepent both stand out for their female chorals, though on the latter piece the women sing not alone, but accompanied by congas. The largely acoustic Gorlitz 1941 and To Vap-3 both instantly bring to mind the concept of Chamber Rock, combining (seemingly incompatible) structures typical of both Classical and Avant-garde branches of Academic music, as also does one of the longer tracks, To Vap-2. On all the said tracks the music is beyond comparison and is highly expressive. Only the remaining three cuts from the first category, To Vap-1, Plillerling and Perte D, arouse associations with some other artists, namely Magma and Robert Fripp (think "Soundscapes"), bringing together fluid-yet-eclectic electronic passages with powerful, rhythmic drumming. The 6-minute Pilgrim Day is the same story overall. It needs to be mentioned that while the longer tracks all come with what I see as a fully-fledged lyrical content, the number of vocal sections is relatively small on each, most of those being largely instrumental. Unlike most of the said tunes, the remaining six ones are not without outside factors, which though is just merely remarked on, as most of those are just irresistible, the only exception to that rule being A. Frank (perhaps Anna Frank, a symbol of all the Jewish children who were lost in the Holocaust). The only piece with the flutes at the fore, it would've been excellent as well hadn't its mid-section been overloaded with synthesizer effects. The longest two compositions, Zwichen Lacben & Trane and Random, both for the most part sound much like King Crimson's Discipline, just married with Mr. Dissonance:-), whose belonging to classic RIO is beyond question, though on the other hand King Crimson themselves widely used atonalities and counterpoint melodies too - just recall their "Larks' Tongues in Aspic" for instance. In any event, that English band appears to be the primary influence on this recording, even though some of the others (Sieges Even in 1990-'91, Univers Zero, Pink Floyd and again Magma) from time to time overshadow it - particularly often on both Y and Pandora's Box.

Conclusion. This CD is filled with dark complex music and comes highly recommended to anyone with a taste for genuinely adventurous Prog Rock."

VM: July 9, 2007



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