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Moving Gelatine Plates
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Moving Gelatine Plates in Franklin, TN
Current price: $39.99
Barnes and Noble
Moving Gelatine Plates in Franklin, TN
Current price: $39.99
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Size: OS
On their impressive 1971 debut, France's
Moving Gelatine Plates
create a unique brand of jazz-influenced progressive rock. Parts of the album are reminiscent of the music recorded by groups from England's Canterbury scene (e.g.,
Soft Machine
), but the
' driving rhythms and catchy thematic shifts set the band apart from their English counterparts. Drummer
Gerard Pons
pulls the listener along at a frantic pace on tracks like
"Gelatine"
and
"Last Song."
With help from the growling distortion provided by guitarist
Gerard Bertram
,
Pons
keeps the album firmly grounded in rock.
Maurice Helmlinger
's jazzy horn work and
Didier Thibault
's hopping basslines provide a striking contrast to these rock underpinnings. Although most of the debut is instrumental, some vocal segments do surface. These segments, which are sung in English, are rather brief -- not surprising, since English was not the band's native language. On
"London Cab,"
the
even include words from the nursery rhyme
"Three Blind Mice."
The lyrics on the rest of the album range from silly to cryptic, but considering the strength of the music, these shortcomings are forgivable. Overall, the
deliver a debut that is both intricate and engaging, two features that are absent from so much of the progressive rock from the era. ~ Andrew Helminger
Moving Gelatine Plates
create a unique brand of jazz-influenced progressive rock. Parts of the album are reminiscent of the music recorded by groups from England's Canterbury scene (e.g.,
Soft Machine
), but the
' driving rhythms and catchy thematic shifts set the band apart from their English counterparts. Drummer
Gerard Pons
pulls the listener along at a frantic pace on tracks like
"Gelatine"
and
"Last Song."
With help from the growling distortion provided by guitarist
Gerard Bertram
,
Pons
keeps the album firmly grounded in rock.
Maurice Helmlinger
's jazzy horn work and
Didier Thibault
's hopping basslines provide a striking contrast to these rock underpinnings. Although most of the debut is instrumental, some vocal segments do surface. These segments, which are sung in English, are rather brief -- not surprising, since English was not the band's native language. On
"London Cab,"
the
even include words from the nursery rhyme
"Three Blind Mice."
The lyrics on the rest of the album range from silly to cryptic, but considering the strength of the music, these shortcomings are forgivable. Overall, the
deliver a debut that is both intricate and engaging, two features that are absent from so much of the progressive rock from the era. ~ Andrew Helminger
On their impressive 1971 debut, France's
Moving Gelatine Plates
create a unique brand of jazz-influenced progressive rock. Parts of the album are reminiscent of the music recorded by groups from England's Canterbury scene (e.g.,
Soft Machine
), but the
' driving rhythms and catchy thematic shifts set the band apart from their English counterparts. Drummer
Gerard Pons
pulls the listener along at a frantic pace on tracks like
"Gelatine"
and
"Last Song."
With help from the growling distortion provided by guitarist
Gerard Bertram
,
Pons
keeps the album firmly grounded in rock.
Maurice Helmlinger
's jazzy horn work and
Didier Thibault
's hopping basslines provide a striking contrast to these rock underpinnings. Although most of the debut is instrumental, some vocal segments do surface. These segments, which are sung in English, are rather brief -- not surprising, since English was not the band's native language. On
"London Cab,"
the
even include words from the nursery rhyme
"Three Blind Mice."
The lyrics on the rest of the album range from silly to cryptic, but considering the strength of the music, these shortcomings are forgivable. Overall, the
deliver a debut that is both intricate and engaging, two features that are absent from so much of the progressive rock from the era. ~ Andrew Helminger
Moving Gelatine Plates
create a unique brand of jazz-influenced progressive rock. Parts of the album are reminiscent of the music recorded by groups from England's Canterbury scene (e.g.,
Soft Machine
), but the
' driving rhythms and catchy thematic shifts set the band apart from their English counterparts. Drummer
Gerard Pons
pulls the listener along at a frantic pace on tracks like
"Gelatine"
and
"Last Song."
With help from the growling distortion provided by guitarist
Gerard Bertram
,
Pons
keeps the album firmly grounded in rock.
Maurice Helmlinger
's jazzy horn work and
Didier Thibault
's hopping basslines provide a striking contrast to these rock underpinnings. Although most of the debut is instrumental, some vocal segments do surface. These segments, which are sung in English, are rather brief -- not surprising, since English was not the band's native language. On
"London Cab,"
the
even include words from the nursery rhyme
"Three Blind Mice."
The lyrics on the rest of the album range from silly to cryptic, but considering the strength of the music, these shortcomings are forgivable. Overall, the
deliver a debut that is both intricate and engaging, two features that are absent from so much of the progressive rock from the era. ~ Andrew Helminger
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