01	Godevin Le Vilain						02:59
	02	Les Longues Nuits D'isaac						04:13
	03	Si J'etais Le Messie						03:03
	04	Ballade Pour Une Orgie						03:20
	05	Exode						04:59
	06	La Bataille Du Sucre						06:29
	07	Fils De Lumiere						03:52
	08	Au Dela Du Delire						09:02

Christian Decamps - vocals, keyboards
Francis Decamps - keyboards, voice
Jean-Michel Brezovar - guitar
Gerad Jelsch - drums, percussion
Daniel Haas - bass

Ange [France]

Caricatures (72), Le Cimetiere des Arlequins (73), Au-dela du Delire (74), Memo (74), Emile Jacotey (75), Par les Fils de Mandrin (76), Tome VI (77, Live), Reimpression (77), Ange en concert 1970-71 (77, Live, recorded prior to first studio album), Guet-Apens (78), Le Mal d'Adam (79), Vu d'un Chien (80), Moteur! (81), A Propos de... (82), La Gare de Troyes (83), Fou! (84), Egna (86), Tout Feu Tout Flamme - c'est pour de rire (87), Vagabondages (89), Seve qui Peut (89), Les Larmes du Dalai-Lama (92), Un P'tit Tour et puis s'en Vont (95, Live), Rideau! (95, Live), A...Dieu (96, Live), Juste une Ligne Bleue (90), Nu (94), Vesoul (95), Les Mots d'Emile (96), Troisieme Etoile a Gauche (97), Plouc (97), Les Poemes de la Noiseraie (98), Master Series Vols 1 & 2 (98), La Voiture a Eau (99), Ad libitum (99),

Ange created a form of music that will go down as one of the most innovative in the progressive world. While constantly compared to Genesis, Ange's music sounds a world apart and is probably due to the heavy French sound that pervade's all of their releases. Led by the charismatic Christian Decamps, Ange immediately began to make music with an intense theatrical air - one that probably accounts for the Genesis comparisons. Ange shows were a theatre in themselves - in fact before one of Ange's tours, Christian Decamps broke both heel while rehearsing a stunt for the show. Ange were quite popular in France, their second LP, La Cimetiere Des Arlequins actually reaching Gold Status. Their music is definitely in the symphonic realm yet the French element is much too noticable for comparisons to the English bands of the same type. I find it too entrapping to narrow their style down, it was mostly their own, but if you find heavy French lyric too much to take, you may want to try something else. While a heavy lyrical presence is felt in all their releases, they are balanced quite nicely with excellent instrumental outbreaks, especially notable is guitarist Jean-Michel Brezovar, who's solo on "Exode" from their arguably best album Au Dela Du Delire is quite emotional. Ange were definitely at their peak (like many 70s prog bands) in the early to mid seventies, and their first seven LPs are all highly recommended progressive releases. I'd start with Au Dela Du Delire or their fourth Emile Jacotey which seems to be sort of a concept story with an old French man as narrator. Their debut Caricatures, fifth Par Les Fils Du Mandrin and double live (1 CD) sixth Tome VI are also highly recommended to French music explorers. All of these mentioned + a double live LP of their pre-Caricatures material En Concert 1970-1971 have all been reissued on CD.

This music is firmly in the prog rock vein. I just didn't find it very interesting. The lineup is guitar, bass, keyboard and drums. The vocalist is very emotional, crying out words (unknown to me, since I don't speak French) and sounding at times both powerful and pathetic... almost punk. The first tune, "Reveille Toi" is average-fare prog rock, and quite repetitive. The second, "Dans...," is a ballad that I found mostly boring, though pretty and symphonic at the end. The two tunes from Emile Jacotey were a little more interesting. "Bele..." has lots of stops and starts that were cool at first, but I slowly got tired of them. The last tune, "Le Nain...," was humorous, silly, and enjoyable. It reminded me of something that might be sung by the "bad guys" in an old Walt Disney movie, with a little vaudeville thrown in. I wasn't particularly thrilled with any of these tunes. Except for "Le Nain De Stanislas," they are pretty forgettable when compared to other bands who do this stuff better.

French group, in the true symphonic vein. Very fond of concept albums. Good, seldom too pretentious. Their music is often frantic and a bit dark. Beauty as such has never been something they have strived for. Has been around for a long time as you can see from the discography above. The earlier albums are would you expect, but like many other "progressive" bands they developed into more straighter rock with the arrival of the eighties. You could say that Guet-Apens is their last truly symphonic album until Seve qui peut which was a singular return to this style. But that their music became straighter doesn't mean that they "sold out." Some of their rock albums are very strong. Personwise, Ange was originally a group well all contributed with song-writing, but in later years the two brothers Francis and Christian Decamps wrote all songs.

Le Cimetiere is my favourite album of theirs. Dark, haunting music with melodramatic French vocals that overall resembles Van der Graaf Generator. The use of oddly distorted Hammond organ reminds me a lot of early Rare Bird. This album is most notable for a high-strung prog version of Jacques Brel's "Ces Gens La." Au-Dela Du Delire continues in the same vein, and is also highly recommended. Perhaps even more so, as it's not quite as scarifying as the previous album. Emile Jacotey is a transitional album. As such it doesn't hold my interest very well, but it's not bad. Par les fils de Mandrin is much better, a concept album done in a much less manic style than previous LPs. Use of French folk music as a springboard for musical ideas here makes it distinctive. This is probably the best starting point. -- Mike Ohman

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In the light of Musea's new tribute A Propos D'Ange and a new solo album by Christian Decamps, Exposй felt it would be an ideal time to take a look back at what was the beginning, and arguably the peak, of the career of one of France's most innovative and influential rock groups.

Ange released a total of six French language studio albums, two double live albums, and a compilation in the 1970s. While for many bands this may have stretched the good music way too far, Ange lasted through the decade with a string of essential albums, several of them of classic status.

Ange were undeniably a product of their culture, and were certainly influenced in many ways by the political situation in France in the late sixties. They made a distinctly French music - poignant, caustic and often satirical - that was a huge influence to many bands including Atoll, Mona Lisa, Memoriance, Grime, Orion and others. Their poetic song style remains the forerunner for this type of music, certainly one that can seem quite alien to the mainstream influenced English-only ear. Admittedly, those who have a hard time adjusting to foreign dialects in music will have trouble absorbing Christian Decamps distinct voicings. This may be partially the reason why the CD reissues have been largely overlooked by the progressive "underground" especially outside of France.

Ange's initial line-up consisted of Christian Decamps on vocals and additional keyboards; Francis Decamps on keys - including the heavily reverbed mellotron sound that, along with the vocals, practically defined the Ange "sound"; Jean-Michel Brezovar on flute and mainly a tremendously underrated guitarist; and rhythm section Daniel Haas and Gerard Jelsch on bass and drums respectively. The band recorded an early single - 1970's "Israel/Cauchemar" (Caepe Disques JCP 25002) - before being signed to Philips, the label they would stay with until the mid eighties. Two singles followed in 1971: "Tout Feu, Tout Flamme/Dr. Mann" (Philips 6009 171) and "Le Soleil Est Trop Vert/Le Vieux De La Montagne" (Philips 6837 077), the A side of the first and B side of the latter making it to a later compilation in 1977. The band also recorded a live version of "Le Vieux De La Montagne" as their contribution to the Groovy Pop Session (Philips 6332 044) compilation, also notable for having the earliest recorded Pulsar track on it.

Ange's true debut was released in 1972 as Caricatures (Philips 6332 066) two years after they formed. This was a very strong debut and many of Ange's trademark musical elements can be detected here at an early stage. Heavily reverbed organ (which at times is nearly indistinguishable from his similarly effected mellotron) is Ange's most noticeable musical characteristic. The sound gives the music an almost archaic and ancient feel that is totally indigenous to the group. Also noticeable is Brezovar's expressive and often under-mixed guitar playing which adds an emotive and intense feel to the music. The production here is fairly dated for 1972 which adds to the semi-gothic sound of the album. While arguably behind the "progressive" efforts of their English contemporaries like Genesis or Yes, it still must be noted that Ange's tendency for a poetic song styling and unusual rhythms is quite unique for a debut; completely eschewing the commerciality inherent in the aforementioned groups. Ange's diversity, a similarity between many of their albums, is already evident early on, from the anthem-like and classic "Dignite" to the ballad "Le Soir Du Diable" to the instrumental opener and closer "Biafra 80" (introduction/final) (although the final's bizarre avant- rock collage was only an element found in their early music). Overall, Caricatures is a very strong and underrated debut, perhaps due to the higher caliber of their later and more mature output. A single, "Caricatures/Dignite" (Philips 6837 077) was also released.

1973's Le Cimetiere Des Arlequins (Philips 6325 037) showed very little stylistic change as a whole. There was a further development of their song style taking hold, yet the overall effect was very close to that of Caricatures. High points of their sophomore effort include another spine tingling Brezovar guitar solo in the Jacques Brel composition "Ces Gens-La," the "Bivouac" suite with some rare organ soloing, and the long closer that would become an Ange tradition for the next four studio albums. While not really much of a change, Cimetiere still remains a great and recommended album.

Ange's peak arguably started with their third, magnificent, and possibly best album Au-Dela Du Delire (Philips 9101 004, 1974). Immediately noticeable is the much clearer and updated production that eluded their previous output. While the typically warbly mellotron still remained at the root of their sound, the more vibrant overall richness resulted in the big step up the band needed. Guests Eric Bibonne, Michel Lefloch (vocals), and Henry Loustau (violin) also contributed to the widened palate. Every song here is a gem - the powerful and tortured "Les Longues Nuits D'Isaac," the beautiful "Ballade Pour Une Orgie" the majestic and incredible "Exode" - with a superb and overwhelming guitar solo and finale, and the aptly delirious self-titled suite that closes the album. Every track flows perfectly as a whole, like a haunting and mesmerizing story line. This album remains as the zenith of French symphonic rock; an essential masterpiece and possibly one of the best albums in this vein ever recorded.

Around this time, drummer Gerard Jelsch left and was replaced by Guenole Biger. Flowing with musical ideas and originality, the band barely missed a step with their fourth album, a concept built around the tales of Emile Jacotey (Philips 9101 012, 1975.) This album is noticeably more upbeat and rocking, especially on the opening track. Linked by narration (Emile), the music flows arguably even more effectively than on the previous album. Again, this is a splendid display of color, dynamics, multi- timbral subtlety and harmonic complexity that belies its aesthetically straightforward song style. As a pointer, this is probably the best place to start as a newcomer to Ange's studio albums as it falls in the middle between their early style and a more atmospheric and reflective style to come. Philips released two singles from the album - "Jour Apres Jour/Bele, Bele Petite Chevre" (Philips 6837 311) and "Ode A Emile/Sur La Trace Des Fees" (Philips 6837 2171) - all incredible music from a brilliant album.

1976's Par Le Fils Du Mandrin brought a subtle yet noticeable change in style, and was their best selling album to date. Jean- Pierre Guichard replaced Biger as full time drummer, subtly bringing a change in tone and mood. This album is much more restrained, reflective, and melancholy than previous efforts. There is some narration, much of it during the quieter sections, and the overall effect is far less immediate and powerful than the previous four albums. Much of the music is very quiet and atmospheric, and while the Ange sound remained intact, the album is much less striking than would be expected after Emile Jacotey. Relatively speaking of course, there are some jewels here - the laid back title track, the rich "Les Yeux..." (one of their many classics), and the three part closer. Overall, another good album, yet not quite as initially impressive. There is also a very rare English vocal version that never saw wide distribution, By The Sons Of Mandrin.

Ange's Tome VI was released in 1977 as the first of two double live albums that year. As a live album, Tome VI (Philips 6641 715) portrays the Ange experience in a different setting. Ange were a remarkable band live, with variations in material that show a band still continuing to improve their music as an evolving art form. For example, the side long version of "Dignite" is a much more dramatic and elaborated version than on Caricatures. Due to time restraints, not every classic is present, but excellent are the ones here, with the intense opener, a quicker paced "Fils De Lumiere" and a very emotional and convincing "Sur La Trace Des Fees" to name a few. The Baillemont CD reissue adds the excellent out- take, the 13 minute "Le Chien, La Poubelle, Et La Rose" which adds up to make this CD well worth the money and an ideal introduction.

Also released by RCA in 1977 was the double live early retrospective album 1970/1971 En Concert, a compilation of Ange's very early years live. Much of the music here is far different from Tome VI and in many ways even far off from the debut album itself. This Ange is the Ange of the early singles: much in the way bands like the New Trolls or Le Orme began, as a beat group. The Beatles, Yardbirds, early Grateful Dead and Santana all are subtle factors to their music, an experimental and expressive rock played with vigor and energy. Brezovar's guitar is much farther up front here than it would be later on, giving the music a slightly harder edge. While you can hear psychedelic embryonic parts of Caricatures, most of this does not sound anything like the Ange of 1972 plus.

1977 also heralded the release of a "greatest hits collection," Ange Chante Ses Plus Grands Succes, a retrospective from 1971- 1976 including the two singles tracks mentioned earlier.

Ange returned to the studio in 1978 as a changed line up again with the Decamps, Guichard and new members Claude Demet on guitar and Gerald Renard on bass. As a result, Guet Apens (Philips 9101184) had a different feel, this time much more spacey with a soaring edge. Francis Decamps' mellotron sounds less reverbed than in the past, and the overall effect is like Pink Floyd, or much more closely, the Pulsar of Strands Of The Future. Excellent music with two long tracks to begin and end the album, the closer "Le Captain Couer De Miel" is worth the price of the album by itself. Another excellent and surprisingly overlooked album.

Ange's two original members both departed to make solo albums in 1979, and later reformed Ange in 80's as a band with a far different and much more straightforward sound that, in many ways, leaves the focus of Exposй. The Ange sound of the seventies ended with "Guet Apens."

Many of the CDs here are not as widely distributed as even many of the independents, although should be found with a mininum of effort. The majority were reissued by Philips with the exceptions from Baillemont, and later Musea. The rumour has it that as of 2001, the early albums are to be remastered. Ange were a singular event in European rock, and are not to be missed.

(Originally published in Expose #5, p. 6-9, Edited for Gnosis 2/18/01)




Ange - "Le Cimetiere des Arlequins" (1973) The second Ange album opens with their version of Jacques Brel's "Ces-Gens Lа", and is a great example of the classic Ange sound: dark, dramatic, theatrical and very symphonic sounding with the narrative vocals of Decamps. As on the other classic Ange albums, "Le..." is stuffed with great songs. "Aujourd 'hui c'est la Fкte chez I'Apprenti-Sorcier" could very well be my favourite track on the album. It's basically a very simplistic, two-chord keyboard theme placed over a powerful guitar-riff with Decamps singing dramatically on top of it all before it turns into a quiet and atmospheric part, just to return to the energy from the beginning of the track again. A genius track, even if it's less than 4 minutes long! "De Temps en Temps" is a beautiful and very symphonic ballad. "Bivouac" starts cheerful and almost folky, but it soon turns into a dark and sinister part with lots of great keyboard soloing. And their unmistakeable keyboard-sound was never more dominant than on this album. Their strong theatrical leaning comes to the fore on the title-track. There are also two acoustic tracks here which are quite different from each other. The first one, "L'Espionne Lesbienne" sounds like a typical dramatic Ange song, but stripped down to an acoustic piece with some nice flute. The other one, "La Route aux Cyprиs", is less dramatic, more relaxed and pleasant. Overall, this album sounds a little bit darker than their following albums and actually also more Van der Graf Generator inspired. And I love it!


Ange - "Au-Delа du Delire" (1974)
The main band of French progressive rock. Ange played very theatrical, dramatic, powerful and symphonic progressive rock, and their sound was strongly characterised by the excellent and very emotional vocals of Christian Decamps and a very special organ sound which best can be described as a organ trying to sound like a mellotron! "Au..." is a concept album based on different stories from French folklore. The material is absolutely superb, with several highlights. "Godevin le Vilain", "Les Lonuges Nuits d'Isaac" and "Excode" are all excellent examples of Ange at their best. Very melodic, powerful and symphonic with awesome themes and arrangements. Their earlier mentioned organ-sound can especially be heard in all its glory at the end of the classic "Fils de Lumiиre". It sounds really majestic and beautiful. "Ballade Pour Une Orgie" is a wonderful acoustic ballad. There's no dead meat on the album at all, and this is probably the very first French progressive rock album you should check out. It's a classic.


Ange - "Emile Jacotey" (1975)
Another awesome concept-album. This time it was based on the stories told by a French-man named Emile Jacotey. I don't know who this guy were, but I suggest he was a real person. With the exception of the last track, the totally horrible "Le Marchand de Planetes" (a very poor track that don't sound like Ange at all), the songwriting is flawless. There are several VERY beautiful tracks here, like "Aurelia", "Jour Apres Jour" and the heavenly beauty "Sur la Trace des Fees". "Ego et Deus" and "Bкle, Bкle Petite Chevre" are more energetic progressive rock tracks. The last mentioned has a very interesting and unusual structure to it. "Le Nain de Stanislas" is the group from its most theatrical side, and Decamps really shows all the stuff he can do with his voice. The more folky "Ode а Emile" became the band's signature track. If you forget about the stinking "Le Marchand...", this album is another classic from Ange.


Ange - "Par les Fils de Mandrin" (1976) Ange's 5th album and this time there was no crap around! The album is dominated by the classic and distinctive Ange- sound, but the band were also exploring some new ground. Excellent tracks like "Saltimbanques" and the classic "Hymne а la Vie" had both some slight folk- influences which fitted the band's sound perfect. "Atlantis " had a very mystic and dreamy atmosphere to it, while "Au Cafи du Colibri" and the heavenly "Des Yeux Couleur d'Enfants" are classic Ange the way we are used to. The title- track demonstrates the more aggressive side of the band while the folky and acoustic "Autour du Feu" is the band from their most relaxed and quiet side. I've been told that both the concept and the lyrics on the album are great, so you will probably enjoy this album even more if you understand the French language. But the music can fortunately anyone enjoy.


Ange





Christian Decamps - вокал, клавишные
Francis Decamps - орган, скрипка, вокал
Jean Michel Brezovar - гитара, флейта, вокал
Patrick Kachanian - бас-гитара
Gerard Jelsch - ударные



Одна из самых оригинальных и талантливых французских групп прогрессивного рока и едва ли не единственный коллектив, наряду с MAGMA добившийся мирового признания в мире традиционно англоязычной музыки. Достигший на сегодняшний день ранга суперзвезд ансамбль, пик популярности которого пришелся на 1974-77 годы, со своей "звездной" историей и своим фэн-клубом под названием "Армия теней".

Первые свидетельства существования ANGE приходятся на вторую половину шестидесятых годов, именно тогда сложился оригинальный состав музыкантов-уроженцев города Бельфорт: Кристиана и Франциса Декама, Жана-Мишеля Брезовара, Патрика Кашаньяна и Жерара Жельша. В 1966 году увидела первая сорокопятка группы "Qu'y a-t'il de plus beau"/"Donne moi le raison"/"Tais-toi" (Edition Plyral), а год спустя EP Les Anges (Odeon).

Регулярные выступления во Франции, особенно на востоке страны, позволили группе приобрести репутацию подающего надежды молодого ансамбля и завоевать национальную аудиторию. Тогда же на смену Кашаньяну из DES INCREDIBLES пришел Даниэль Хаас (Daniel Haas - бас-гитара, гитара) - сложился постоянный на долгие годы состав музыкантов. Широкому успеху коллектива предшествовал триумф направленной против войны и милитаризма сатирической постановки в девятнадцати сценах "Фантастическая эпопея генерала Машина", которая была показана 30 января 1970 г. в Бельфорте.

В полный голос коллектив заявил о себе с появлением в марте 1970 года в клубе “Golf Drouot”. Располагавшийся по адресу улица Друа, д. 2 (на пересечении ее с бульваром Монмартр) и в 1956 г. перестроенный владельцем Энри Лепру (Henri Leproux) под заведение для увеселения молодежи, клуб с 1962 года стал рок-н-рольным сердцем столицы. Лепру разработал особую систему - "трамплин", благодаря которой по вечерам в пятницу сцена представлялась дебютантам. “Golf Drouot” стал такой же Меккой для парижской рок-молодежи, как и лондонский клуб Marquee. В разное время здесь выступали и отсюда начали восхождение к славе Ронни Берд (Ronnie Bird), Ноэль Дешам (Noel Deschamps), VARIATIONS, и, конечно, ANGE, у которых к тому времени вышла очередная сорокопятка "Israel"/"Cauchemar" (Caepe Disques).

В июле 1971 года, имея за спиной еще пару синглов - "Tout feu, tout flamme"/"Docteur Man" (Philips) и "Le soleil est trop vert"/"Le vieux de la montagne" (Philips) и одержав победу в конкурсе любительских групп Golf Drouot, группа добилась контракта с фирмой Philips. Музыканты отправились в студию для записи вышедшего несколько месяцев спустя первого альбома Caricatures и сорокопятки "Caricatures"/"Dignite" (1972 Philips), за которым не заставил себя ждать и следующий диск Le Cimetiere des Arlequins, синглом с которого стала "Ces gens-la"/"De temps un temps" (1973 Philips). Как следствие, ANGE предпринимала одно турне за другим и вскоре о них услышали в США. Это произошло в ходе совместных концертов американского турне Джонни Холидея (Johnny Hallyday), названного "Johnny Circus" или "Цирк дядюшки Джо".

Первая половина семидесятых - время, когда создавалась классика европейского прогрессива, - была особенно плодотворным периодом в творчестве коллектива. В их работах тех лет можно проследить влияние таких композиторов, как Дворжак и Стравинский, услышать отголоски KING CRIMSON и SOFT MACHINE. ANGE писали яркую, запоминающуюся музыку, близкую к симфо-року и строившуюся на характерном драматическом вокале лидера группы Кристиана Декама, обилии клавишных и утяжеленных органных партиях, соло-гитаре и флейте Брезовара и скрипке Франциса Декама, а также сценическом спектакле со специфическим поведением и развитой формой представления, главенствующую роль в котором играла личность Франциса Декама, находившего немедленный контакт с публикой. В текстах, наряду с интересными находками грешивших и откровенными штампами, запечатлено невероятное разнообразие тем: от ренессансной восторженности и повествований в духе старинных провинциальных преданий до бредовых сюрреалистических видений.

После огромного успеха Le Cimetiere des Arlequins, разошедшейся тиражом более двухсот тысяч экземпляров и получившей статус “золотого диска”, группа со следующей работой - зрелым, выдержанным альбомом Au-Dela Du Delire, на котором играл скрипач Энри Лусто (Henry Loustau), а вокальные партии поделили между собой Эрик Бибонн (Eric Bibonne) и Мишель Лефлош (Michel Lefloch), - завоевала гран-при французской поп-музыки. Претендующая на звание лучшего творения ансамбля пластинка демонстрирует уникальный стиль с неповторимым французским шансоном в обрамлении богатого инструментала (соло Ж.-М. Брезовара на “Exode”)

Au Dela Du Delire передавала ощущение тесного общения с рассказчиком, который под музыкальный аккомпанемент ведет повествование в лицах. От трагической баллады со скрипичной кодой "Godevin Le Vilain" он переходит к полному отчаяния сказанию о долгих ночах Исаака в "Les Longues Nuits D'Isaac" ее с хард-роковым вступлением и пробивающимся вслед за этим синтезатором, в свою очередь приводящим к драматической кульминации. Звучащая на фоне призрачных спецэффектов поэма "Si J'etais Le Messie" постепенно “обрастает” синтезатором, ударными и органом. В "Ballade Pour Une Orgie" помимо партий гитары и клавесина внимание привлекают струнные и хоровое пение. Необычная ритмика "Исхода" ("Exode"), которую только подчеркивают выполненные при помощи меллотрона оркестровые аранжировки, напоминает о средневековых танцах, а звуковое пространство "La Bataille Du Sucre", напротив, заполнено лишь клавишными и ударными. По контрасту с ней интересно развитие динамичной композиции “Сыновья Люмьера” ("Fils De Lumiere"). И, наконец, завершает пластинку заглавная "Au-Dela Du Delire" с ее пасторальной атмосферой, проработанной композиционной структурой, спокойными и уверенными интонациями.

На смену Жерару Жельшу пришел Жан-Пьер Гуишар (Jean-Pierre Gouichard), дебютировавший на неоднозначно принятом диске Emile Jacoutey, повествование в котором ведется от лица пожилого, много повидавшего на своем веку человека. В качестве синглов с него были выпущены "Jour apres jour"/"Bele, bele, petite peuvre" (1975 Philips) и "Ode a Emile"/"Sur la Trace des Fees" (1975 Philips), партии ударных исполнил Геноль Бигер (Guenole Biger). На создание пластинки музыкантов вдохновила таинственное и романтическое видение крестьянской жизни департамента Верхняя Сона. Cорокопяткой к следующему диску Par les Fils de Mandarin стала "Par les fils de Mandarin"/"Des yeux couleurs d'enfants".

K этому времени общий тираж расходившихся безо всякой рекламы пластинок группы составил три миллиона экземпляров, а за период с 1973 по 1977 год ANGE в одной только Великобритании отыграли сто десять концертов.

В 1977 г. из группы ушли Хаас и Брезовар. Брезовар вместе с Бигером создал ориентированный на кантри-рок ансамбль под названием BREZOVAR, пытаясь петь по-английски в подражание таким американским коллективам, как POCO и THE EAGLES ("детская болезнь" французских рок-музыкантов, старающихся порой браться за то, что по природе своей им не дано), а Хаас ненадолго присоединился к группе UTAHS. Впоследствии он объединил усилия с бывшим клавишником POINT и прогрессивного трио ТRAVELLING Ивом Хасссельманом (Yves Hasselmann) для создания весьма интересного сольного альбома, включавшего композиции сочиненные как тем, так и другим музыкантом.

Тогда же вышел двойной концертный альбом, а год спустя - концертник En Concert 1970/71, дающий представление о раннем этапе существования группы. Отобранный для него материал был записан еще до выхода первого альбома ANGE.

Кристиан Декам параллельно своей работе певца и лидера группы значительное время уделял сольной карьере, считая, что так его поэтическое дарование, не стесненное рамками ансамбля, может раскрыться в полную силу.

После долгого турне по Франции в том же году коллектив решился на десятимесячный творческий отпуск. Изменения состава тем временем продолжались: на альбоме Guet Apens - вероятно, последнем из созданных в традиционном арт-роковом ключе, появляются Клод Леме (Claude Lemet - гитара, бас-гитара, флейта) и басист Джеральд Ренар (Gerald Renard). Казалось, что ансамбль вот-вот распадется.

В 1980 г. ANGE вернулся к активной творческой деятельности, а год спустя отпраздновал десятилетие своего существования. В группу на тот момент входили ее основатели братья Декам, а также Роби Дефер (Roby Defer), Дидье Висье (Didier Visieux) и Жан-Пьер Гуишар. Два года спустя они приняли участие в постановке спектакля "Вокзал Трои", музыка к которому легла в основу одноименной концептуальной пластинки.

Самыми неудачными работами ансамбля надо признать Fou! (1984) и Egna (1986) - надуманная, неестественная музыка, в которой нет ничего общего с былым великолепием саунда коллектива. Вероятно, сказалось влияние повсеместного увлечения техническими новинками в области синтезаторного программирования. Однако через пару лет кризис был преодолен и с 1987 года с альбомом Tout feu tout flamme и, особенно, Seve qui peut (1989) начинается новый подъем, группа возвращается к очень сложному, насыщенному сменой настроений звучанию, не лишенному свежести и новизны. С 1989 года ANGE выступают в наиболее приближенном к оригинальному cоставе: братья Декам, Хаас, Гуишар, Брезовар и Серж Кено (Serge Cuenot) и, похоже, не собираются "подавать в отставку", о чем свидетельствуют бурный всплеск интереса к творчеству группы в начале девяностых годов.

Успех коллектива в новом десятилетии закрепил удачный альбом Les Larmes Du Dalai Lamae, а считающиеся классикой французского рока все альбомы группы были переизданы на компакт-дисках. На родине музыкантов кроме того вышли о них четыре книги: Buzon, Michel. Ange: Les Croyances Feeriques (ERTI, 1989); Germonville, Jean-Paul. Au-dela Du Systeme: Ange, Vingt Ans De Musique (Presses Universitaires de Nancy, 1990); Busson, Thierry & Chatagnon, Xavier. Ange: Le Livre Des Legends (Eclipse, 1995) и сборник поэзии Мишеля Декама Mes Mots D'Ange.



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Дискография:

1. Les Anges (EP) - 1967 (Odeon)

2. Caricatures (LP) - 1972 (Philips); (CD) - 1989 (Marianne), 1992 (Baillemont - France)

Biafra 80 "Introduction"/Telsquels/Dignite/Le Soir Du Diable/Caricatures/Biafra 80 "Final"


3. Le Cimetiere Des Arlequins (LP) - 1972 (Philips); (CD) - 1990 (Philips/Phonogram - France)

Ces Gens 'la/Aujourd'hui C'est La Fete De Apprenti Sorcier/Bivouac 1 Partie/L'espionne Lesbienne/Bivouac Finale/De Temps En Temps/La Route Aux Cypres/Le Cimetiere Des Arlequins


4. Au-Dela Du Delire (LP) - 1974 (Philips); (CD) - 1990 (Philips - Japan/Phonogram - France)

Godevin Levilain/Les Longues Nuits D'Isaac/Si J'etais Le Messie/Ballade Pour Une Orgie/

Exode/La Bataille Du Sucre/Fils De Lumiere/Au Dela Du Delire



5. Emile Jacotey (LP) - 1975 (Philips); (CD) - 1990 (Philips/Phonogram - France)

Bele, Bele Petite Chevre/Sur La Trace Des Fees/La Nain De Stanislas/Jour Apres Jour/Ode A Emile/Ego Et Deus/J'irai Dormir Plus Loin Que Ton Sommeil/Aurelia/Les Noces/Le Marchand Des Planetes



6. Par Les Fils De Mandarin (LP) - 1976 (Philips); (CD) - 1990 (Philips/Phonogram - France)

Par Les Fils De Mandarin/Au Cafe Du Colibri/Ainsi S'en Ira La Pluie/Autour De Feu/

Saltimbanques/Des Yeux Couleur D'Enfants/Atlantis 'Les Geants De La 3 Lune'/Hymne A La Vie/

Cantique/Procession/Hymne



7. Ange Tome VI (2LP Live) - 1977 (Philips); (CD) - 1990 (Marianne-Baillemont - France)

Fils De Lumiere/Les Longues Nuits D'Isaac/Ballade Pour Une Orgie/Ode A Emile/Dignite/Le Chien, La Poubelle Et La Rose/Sur La Trace Des Fees/Hymne A La Vie: a)Cantique b)Procession c)Hymne/Ces Gens-La



8. Reimpression (Comp. LP) - 1977 (Philips)



9. Chante Ses Plus Grandes Succes De 1972 A 1976 (Comp. LP) - 1977 (Philips)



10. En Concert 1970/1971 (unreleased live recordings 1970-71) - 1978 (-/RCA); (CD) - 1990 (Bella Musica/Spalax - France)



11. Guet-Apens (LP) - 1978 (Philips); (CD) - 1989 (Marianne), 1992 (Baillemont - France)



12. Vu D'un Chien (LP) - 1980 (Philips); (CD) - 1989 (Marianne), 1992 (Baillemont - France)



13. Moteur! (LP) - 1981 (Philips); (CD) - 1990 (Melodie), 1992 (Baillemont - France)



14. A Propos De... (LP) - 1982 (Philips); (CD) - 1990 (Melodie, Baillemont - France)



15. La Gare De Troyes (LP) - 1983 (Philips); (CD) - 1990 (Melodie), 1992 (Baillemont - France)

La Gare De Troyes/A Saute-Mouton/Questions D'Generations/Va T'en/Les Moments Bizarres/
Sheherazade/Les Jardins/Neuf Heures/Tout Bleu



16. Fou! (LP) - 1984 (Trema); (CD) - 1990 (Trema - France)



17. Egna (LP) - 1986 (Trema); (CD) - 1990 (Trema - France)



18. Tout Feu, Tout Flamme (LP/CD) - 1987 (Marianne)



19. C'est Pour De Rire (CD) - 1987 (Melodie - France)



19. Vagabondages (CD) - 1989 (Celluloid/Phonogram - France)



20. Seve Qui Peut! (Live LP/CD) - 1990 (Celluloid/Melodie - France)



21. Les Larmes Du Dalai Lama (CD) - 1992 (Baillemont/Phonogram - France)



22. Fantastique Epopee (CD) - 1994 (Spalax)



23. Memo D'Ange (CD) - 1994 (Phonogram - France)



24.Un Petit Tour (2CD Live) - 1995



25. Concert 76/77 (Live CD) - 1996



26. Au Zenith ‘85 (Live CD) - 1996



Christian Decamps соло:



1. Le Mal D'Adam (LP) - 1979 (Philips); (CD) - 1989 (Melodie), 1992 (Baillemont - France)



2. Just Une Ligne Bleue (CD) - 1990 (Philips)



3. Nu (CD) - 1994 (Musea)



Francis Decamps соло:



1. Histoire De Fou (LP) - 1979 (Philips); (CD) - 1989 (Marianne - France)



2. Vie En Positif (CD) - 1991 (Marianne - France)



3. Epicier Marchand D'Rock (CD) - 1993 (Celluloid - France)



4. A Vous mes Voyageurs (CD) - 1995



Jean Michel Brezovar соло:



1. Rue Du Salbert (LP) - 1978 (Crypto); (CD) - 1994 (Spalax - France)



Daniel Haas соло:



1. Couleurs Du Temps (LP) - 1978 (Crypto); (CD) - 1994 (Spalax - France)








Ange

Discography

In Concert (1971)
Caricatures (1972)
Le Cimitiere des Arlequins (1973)
Au Dela du Delire (1974)
Emile Jacotey (1975)
Par Les Fins Mandarin (1976)
Ange Tome VI (1977)
Guet Apens (1978)
Vu du Chien (1980)
Moteur (1982)
A Propos De... (1982)
La Gare Se Troyes (1983)
Fou! (1985)
Egna (1986)
Tout Feu Tou Flamme (1987)
Seve Qui Peut (1989)
Les Larmes Du Dalai Lama (1992)
Memo (1994)
Rideau (1995)
La Voiture A Eau (1999)
Reves-Parties (2000)
Culinaire Lingus (2001)

County Of Origin: France
Established: 1970
Styles: Symphonic


Biography

Ange is perhaps the most influential and widely renowned of all the French progressive groups, save Magma, and certainly the most important fixture of the prodigious French symphonic scene. Though often referred to as the "French Genesis", this description is generalized and ultimately erroneous. Ange had an extremely unique take on progressive rock, practically inventing a style of dramatic, darkly lyrical French symph from which groups like Mona Lisa, Atoll, Shylock, Arachnoid and countless others would be heavily influenced. If any comparison could be made, a more accurate one would be to Van der Graaf Generator, but even this is somewhat misleading. Still, the fiery, grinding rhythms and heavy emphasis on wild, eccentric vocals of VdGG are a much better place to begin drawing parallels to Ange than the catch-all Genesis reference.

Ange began life in the early 70s, releasing a number of early singles. This is a period documented by the In Concert 1971 release, which shows the band in a still embryonic mode. Their first album was 1972's Caricatures, which was just recently reissued by Musea, but the band hits their stride on their third album Le Cimietiere des Arlequins. The follow up, 1974's Au Dela du Delire is a clear classic by any stretch of the imagination, undoubtedly Ange's pinnacle. For such a well regarded band, Ange's truly "classic" period seems painfully short. The next two albums, Emile Jacotey and Par Les Fins Mandarin are both quite good, but neither scale the heights of Au Dela Du Delire, or Cimitiere des Arlequins, for that matter. A live album Tome VI, was released in 1977, followed by the surprisingly quite good Guet Apens, which apparently closes out Ange's period of interest to the progressive listener. Throughout the 1980s, Ange, like many of their contemporaries, went pop, and these albums are by all accounts utterly horrid. Still, they've managed to continue in one form or another under the consistent leadership of Francis and Christian DeCamps to the present day, and perform regularly in France. - Greg Northrup [September 2001]

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Le Cimetiere Des Arlequins (1974)

Ange's Le Cimetiere des Arlequins is considered by many to be the definitive Ange album, and is certainly the first in a series of tremendously influential albums released by the band. This album, along with the subsequent Au Dela Du Delire, certainly represents the pinnacle of the band's achievement; vital, cacophanous progressive rock that brings to mind the apocalyptic pyrotechnics of Van der Graaf Generator and the theatrical grandstanding of early Genesis. As with all albums by Ange, the caveat here is certainly the vocals. Christian DeCamps sings in a harsh, expressive style that is more rhythmic than melodious, often shouting or talking rather than actually singing. References to DeCamps as being the "French Peter Gabriel" are often bandied about, but are only accurate insofar as both make heavy use of characterization and other narrative devices.
The music of Ange is nothing if not complex, intense and often breathtaking. Le Cimitiere... is shrouded in a murky production that, as is rarely the case, actually adds to the charm and mysterious air of the record. Every member makes their presence known in Ange's fiery, and almost uniformly dark, compositions. Jean Michel Brezovar's fuzzed out guitar often battles Francis DeCamps' Hammond for mix supremacy, while heaving mellotron riffs abound behind the fray. Christian DeCamps' stories seem to nearly always be the center of attention for the group, but the really glorious moments come during the instrumental breaks, such as the finale "Bivouac - 1ere Partie", when a pulsing bassline takes center stage, preceding a gorgeous guitar/organ duel. Also of note is a similar passage in "Bivouc - Final", a shuddering instrumental climax. Ange still have the ability to tone things down as well, as in the gorgeous acoustic guitar interplay of "Espionne Lesbienne" and the ballad "De Temps en Temps". Still, Christian DeCamps performance is the focus of Ange's combined effort, and is nothing short of overwhelming. "Aujourd'hui C'est..." is a up-tempo beast driven by the dramatic vocals, and absolutely crushes. The title track is the album centerpiece, and arguably the album's peak. An intense, nightmarish tune that picks up on a devilish circus vibe at points, building intensity until a dramatic finish closes out the album.

Le Cimetiere des Arlequins is, to put simply, one of the essential French albums. Even though I've discovered numerous symphonic albums from that country that surpass this one on musical terms, its influence can be felt on nearly all of them. Ange would surpass themselves on the next record, Au Dela du Delire, and both remain vital documents for beginning to explore the ridiculous depth of French progressive rock movement. - Greg Northrup [September 2001]

1. Ces Gens-La - 4:47
2. Aujourd'hui C'est la Fete chez l'Apprenti... - 3:25
3. Bivouac - 1ere Partie - 5:32
4. Espionne Lesbienne - 2:52
5. Bivouac - Final - 3:02
6. De Temps en Temps - 4:08
7. Route aux Cypres - 3:18
8. Cimetiere des Arlequins - 8:46

Jean Michel Brezovar - Guitar, Vocals
Christian Decamps - Piano, Keyboards, Organ (Hammond), Vocals
Francis Decamps - Keyboards, Vocals, Mellotron
Daniel Haas - Guitar (Acoustic), Bass, Guitar
Gerald Jelsch - Percussion, Drums

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Au Dela Du Delire (1975)

The third album from Ange is, in my eyes, their definitive hour. Simply put, Au Dela du Delire completely kicks my ass every time I listen to it. The album picks up on the basic feel of Le Cimitiere des Arlequins and ups the anty all around. Au Dela du Delire sees a leap forward on the compositional end, as the band displays less of a willingness to go out on any kind of tangent, or leave any idea underdeveloped. Without a doubt, everything here is more focused and complex, while the main themes and melodies are even more memorable. Mellotron and violin are major points of emphasis as well, with Francis DeCamps lending an orchestral flair that is more infused with the compositions, rather than providing background swells as he did on the previous effort. The production, as on Cimetiere... is rather muddy, but is only a minor drawback, perhaps even adding to the rough-around-the-edges mystique of the album.
This album is chock full of moments of unbelievable, breathtaking intensity. "Longues Nuits d'Isaac" is an utter barn burner, beginning with a earth shattering electric guitar riff from Jean Michel Brezovar and proceeding beneath Christian DeCamps' primal roar. "Ballade Pour Une Orgie" is a pleasant, melodic piece with great dueling acoustic guitar melodies. In an album full of highlights, perhaps the finest moment comes at the solo break of "Exode", where Brezovar unleashes a savage guitar lead that gradually builds over the throbbing rhythmic backdrop, as it hits its peak, the mellotrons come soaring in with majestic orchestral swells, as Brezovar's guitar screams beneath. A climax of pure progressive splendor. "Fils de Lumeire" is another extraordinary piece, short but to the point, with an infectious main theme, making its mark with Christian DeCamps' dramatic vocal delivery. And who can forget about the enormous title track? The album closes out with a nine minute piece of pure mellotron worship; gorgeously intense.

Au Dela du Delire is a progressive rock classic. Comparisons to Genesis and Van der Graaf Generator are pretty much moot. Ange are undoubtedly the most influential French symphonic group, and like Genesis, King Crimson or Yes, have gone down as innovators of a particular style by which the pretenders are measured. Other bands sound like Ange, but Ange are an entity unto themselves. Au Dela du Delire is their opus, don't miss it. - Greg Northrup [September 2001]

1. Godevin le Vilain - 2:59
2. Longues Nuits d'Isaac - 4:13
3. Si J'Etais le Messie - 3:03
4. Ballade Pour Une Orgie - 3:20
5. Exode - 4:59
6. Bataille du Sucre ["Inclus La Colere Des Dieux"] - 6:29
7. Fils de Lumiere - 3:52
8. Au-Dela du Delire - 9:02

Jean Michel Brezovar - Guitar, Vocals
Christian Decamps - Keyboards, Vocals
Francis Decamps - Keyboards, Vocals
Daniel Haas - Bass, Guitar
Gerald Jelsch - Drums
Henry Loustau - Violin

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Emile Jacotey (1975)

Whereas Cimitiere des Arlequins had an upward momentum about it, teasing the listener with greater possibilities just around the corner, Au Dela du Delire was "it", a crystallization of progressive rock splendor and utter magnificence, an impossible plateau against which Ange must have known they would invariably be measured for the remainder of their career. It's a challenge that perhaps only the true legends are able to rise to, and on Ange's fourth album, Emile Jacotey, they do what they must to sustain the legacy, but little more. Indeed, the album does leave me somewhat conflicted. While an extremely solid album in its own right, when held up to the light of its predecessor, it loses its luster somewhat. It's a difficult comparison to overcome, especially on early listens.

Perhaps prudently, the band decided not to make another Au Dela du Delire, charting a slightly different course on Emile Jacotey. Immediately noticeable is a rockier approach. The guitar riffs on "Bele, Bele Petite Chevre" snarl and cut, while Christian Decamps' urgent yelps are as abrasive as ever. Less epic, and more focused perhaps, the omnipresent thunder of Francis Decamps' mellotron is also missed, and aside from a few choice passages is left aside in favor of organ and piano. None of these characteristics are necessarily bad, as the band makes it work tremendously on the aforementioned "Bele, Bele Petite Chevre" and the godly first part of "Ego et Deus", these, along with the pretty ballad "Jour Apres Jour" are simply classic Ange. The band does drop the ball in a few places however, as "Le Nain de Stanislas" is hurt by Decamps' eccentric, goofy rambling, and parts of the patchwork "epic" "Ego et Deus" lag considerably. Still, when the band in on they're spot on, and the majority of this album will most certainly sit comfortably with fans of the band's earlier work. So yeah, while Emile Jacotey may be Ange's first step backwards, but it ultimately remains a core work in the band's discography. Just don't go in expecting Au Dula de Delire and you'll be fine. - Greg Northrup [March 2002]


1. Bele, Bele Petite Chevre - 3:50
2. Sur la Trace des Fees - 4:48
3. Le Nain de Stanislas - 5:45
4. Jour Apres Jour - 3:09
5. Ode A Emile - 3:03

Ego et Deus:
6. Ego et Deus - 4:07
7. J'Irai Dormir Plus Loin Que ton Sommeil - 4:11
8. Aurelia - 2:54
9. Les Noces - 6:28
10. Le Marchand de Planetes - 4:17

Jean Michel Brezovar - Guitar, Vocals
Christian Decamps - Percussion, Keyboards, Vocals
Francis Decamps - Organ, Synthesizer, Piano, Keyboards, Vocals
Daniel Haas - Guitar (Acoustic), Bass, Guitar
Gerald Jelsch - Drums

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Par les Fins Mandarin (1976)

Often considered a pivotal release in the career of the most well known French progressive rock band, Par Les Fils De Mandrin certainly takes some getting used to. For this, the band's fifth studio album, Ange decided to tone down the heavier, symphonic rock for a more atmospheric and even folky sound. The results are often stunning if somewhat tentative.

As I can't decipher a word of French, I can't comment on what the lyrical focus is, but intuitively I'm guessing that its some kind of concept album about a traveling family circus. The title track is reminiscent of the band's previous album, Emile Jacotey, in that its a fairly straightforward rock song. From there, things become really loopy. "Au Cafe Du Colibri" has Christian Decamps singing, whispering, and shrieking madly to a very circus-like tune. The rest of the first side is extremely quiet; it's easy to become fidgety as Decamps sings softly over Francis Decamps' trademark echoed organ.

With "Des Yeux Couleur D'enfants", the album really begins to take off. It's somewhat similar to the best material from Au Dela Du Delire. Musically, the second half of the album is busier; whereas one would probably benefit from some understanding of French culture for side 1, one can pretty much ignore the histrionics and just enjoy the music beginning with "Des Yeux:". The album closes in typical grand Ange fashion with an extended piece of music. It has a wonderful emotional buildup with a great tension and release to cap things off. You need not understand what the lyrics are conveying; it's almost more moving to imagine what Decamps might be singing about.

It's taken me 5 years to come to appreciate Par Les Fils De Mandrin. Initially, I hated it and couldn't understand what all the fuss was about. But I kept working with it and eventually I was rewarded. A newcomer would be better advised to begin with Au Dela Du Delire or Le Cimetiere des Arlequins. Those albums present a more rocked up Ange with a great symphonic/psychedelic kick. I also recommend the band's first official live album, Tome VI, but that's a review for another day. If you like those, give this one a try. - Steve Pettengill [October 2001]


1. Par Les Fils De Mandrin - 4:48
2. Au Cafe Du Colibri - 4:02
3. Ainsi S'en Ira La Pluie - 6:08
4. Autour du Feu - 3:06
5. Saltimbanques - 4:15
6. Des Yeux Couleur D'enfants - 4:20
7. Atlantis - 5:05
8. Hymne A La Vie - 9:44
a. Cantique
b. Procession
c. Hymne

Christian Decamps - Vocals, Keyboards
Francis Decamps - Keyboards, Vocals
Jean-Michel Brezover - Guitar
Jean-Pierre Guichard - Drums, Percussion
Daniel Haas - Bass



Ange
Au-Dela du Delire
Phillips ()
France 1974

Jean-Michel Brezovar, guitar;
Christian Decamps, keyboards, vocals;
Francis Decamps, keyboards, vocals;
Daniel Haas, bass, guitar;
Gerald Jelsch, drums, percussion

Tracklist:
1. Godevin le Vilain - 2:59
2. Les Longues Nuits d'Isaac - 4:13
3. Si J'etais le Messie - 3:03
4. Ballade Pour une Orgie - 3:20
5. Exode - 4:59
6. La Battaille du Sucre (Including La Colere des Diuex) - 6:29
7. Fils de Lumiere - 3:52
8. Au-Dela du Delire - 9:02


conrad

That I can enjoy an album which relies so heavily on vocals that I find hard to understand is a pleasant surprise. The vocals of Decamps dominate this album, and though he's dubbed the French Peter Gabriel, I find him to be more like Fish. In fact, Ange's similarities to Genesis mean that they end up sounding a little like Marillion on this album. There is a little more thought put into the musical composition and structure, though, and there are a couple of other influences at play here, including an uncanny echo of The Beatles. And of course the fact that Ange are French makes a big difference.
The sound on this album is lush and keyboard driven, much like Genesis, but there are a few moments here that it would never occur to Genesis to do. There is just some Gallic quality about the music that makes me think that it was written by a man with a piano accordian. On a more conventional note, the guitars add a bit of judicious bite to the music. The song structure is good, and Ange really know how to build tension, even in shorter songs such as "Fils de Lumiere", which is a triumph of the Keith Moon school of drumming. The only drawback is the sound quality, which is little more than acceptable.

Lyrically, this album is supposed to be a collection of songs inspired by French folk tales. This may be true, but the only songs which I've found the lyrics for don't fit this. "Fils de Lumiere" (Son of Light) is a song that follows the "burn bright - die young" metaphor. "Si J'Etais le Messis" (If I was the Messiah) is one of those sacreligious songs that only the French can write. It's quite amusing in a way (with lines like "I am not the Messiah, happily for my mother" and a few other unrepeatable ones) but for the non-Francophone it would be like listening to "The Battle of Epping Forest" without understanding English.

In the end though, despite the fact that my French is so bad that I can only understand the words if I read them, this is still an album that commands multiple listenings. This is a group of inspired individuals, masters of their instruments, at the peak of their powers. From what I've heard of their later stuff, Ange managed to retain much of their creative powers into the nineties; however, this is their golden hour. If you're a fan of Genesis and Marillion, prepare yourself for a French Marillion, and then experience something better.

7-19-03

c ground and sky