COVER IMAGE
LP released: Mar 16, 2018

Tracklisting:
1. In The Wake Of King Fripp (6:37)
2. Aphanisis (2:23)
3. Omar Diop Blondin (7:26)
4. Moebius (1:53)
5. Fluence: A) Continuum Mobile, B) Disjunction Inclusive (12:14)
6. S-mikael Samstag Am Abends (6:18)
7. Michel Ettori (4:18)
HELDON
ALLEZ-TEIA (HELDON II)
Label: BUREAU B
Cat No: BB281LP
Barcode: 4015698013085
Packaging: LP Regular

Before making his own music in the early 70s, Richard
Pinhas was a King Crimson fan. By now the British group
has buzzed in Pinhas' mind for decades, but their greatest
impact came early, from something he couldn't even
identify immediately. When he first saw them play, Pinhas
was struck by music played during intermission. "When I
saw (King Crimson guitarist) Robert Fripp and Brian Eno
perform in Paris later, I realized that the intermission
music was their work," Pinhas said. "I didn't know that
when I first heard it, but I was very impressed by it. It was
the most important influence on Heldon."
That influence is clear on the second Heldon album,
"Allez-Teia", originally released in 1975 on Pinhas's own
Disjuncta label. The opening song, a soaring mix of string-
like electronics and smeared guitar, is called "In the Wake
of King Fripp," a reference both to the guitarist and King
Crimson's second album "In the Wake of Poseidon". The
meditative "Omar Diop Blondin," in which free tones float
above a repetitive guitar figure, is dedicated to Fripp and
Eno. (Strong influence also comes from The Soft
Machine's Robert Wyatt, who was slated to record some
tracks with Pinhas for "Allez-Teia" until the expense of his
travel from London to Paris proved prohibitive.
Yet "Allez-Teia" - whose title is a nod to "aletheia," the
ancient Greek term for philosophical truth - is hardly a
tribute album. The pieces Pinhas crafts with partner
Georges Grunblatt - both playing guitar, Mellotron, and
ARP synths - are beatific on the surface but infused with
undercurrents of tension.

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