01	Le Chant Du Monde						07:37
	02	Porte Sur L'Ete						02:55
	03	Sarabande no. I						06:24
	04	Cantiga De Santa Maria						03:48
	05	Sarabande no. II						07:04
	06	Hymne Et Danse						08:52
	07	Danza Vital						07:27
	08	Le Bal Du Diable						01:32

Minimum Vital
Sarabandes
Musea (FGBG 4014)
France 1990

Thierry Payssan, keyboards, accordian;
Eric Rebeyrol, bass;
Christophe "Cocof" Godet, drums;
Jean Luc Payssan, guitars, vocals

Tracklist:
1. Le Chant du Monde - 7:37
2. Porte Sur l'Ete - 2:55
3. Sarabande no. I - 6:24
4. Cantiga de Santa Maria - 3:48
5. Sarabande no. II - 7:04
6. Hymne et Danse - 8:52
7. Danza Vital - 7:27
8. Le Bal du Diable - 1:32

total time 45:42


conrad

This is an almost entirely instrumental effort from Minimum Vital, which seems to be most at home when the music is in 6/8. The music is generally upbeat and carefully composed. The album opens with a set of chords on the accoustic guitar, which is joined by an accordion. This is of course enough to tell you that the group is from France, and that the rest of the album could contain almost anything. In fact, it contains a fairly conventional sounding outfit playing slightly unconventional music. Listeners may be reminded of Sky or perhaps a nineties' Jethro Tull gone instrumental with a variety of time signatures.
"Sarabande no 1", arguably the best track on the album, is a good example of what this band is about. A fairly simple set of ideas are overlaid to create a very busy sound. The guitar takes the lead about as often as the keyboards; vocals are used sparingly and even then it is just as likely that they will be used to add to the overall sound, rather than being in front of it.

There are a number of problems I have with this album, though. The keyboards are very definitely circa 1990, and the sounds they produce are familiar to anyone who has spent five minutes messing around with a MIDI device - particularly bad is the horn patch used at the start of "Danza Vital". What is no doubt intended as a grand, stately opening is merely tacky and artificial. The album also hits a definite low point with "Cantiga de Santa Maria"; I really can't think of anything nice to say about this particaular track.

Gripes aside, this is still a worthwhile album. I could wish the group's effort in songwriting was matched by their effort in instrumentation, but good music will shine through. There are plenty of ideas on this album, with hints of jazz and Eastern influences occasionally floating in. Anyone who likes modestly complicated music in odd time signatures will be able to see beyond the flaws.

3-21-03



Minimum Vital [France]
Updated 11/27/01
Discography
Envol Triangles (85)
Les Saisons Marines (87)
Sarabandes (90)
La Source (93)
Esprit d'amour (96)
Au Cercle De Pierre (98, Live)


Reviews

The core of this French instrumental band are the brothers Thierry Payssan (keyboards) and Jean-Luc Payssan (guitars and voice), who write all of the band's material. The rhythm section of Eric Reyberol (bass) and Christoph Godet (drums) round out the sound. A few tracks have vocals, but mostly not. In general, their sound is a dynamo of guitar-keyboard interplay, with a strong classical presence. They truly have their own sound, but some vague references might be found in the group Sky, Girls Who Grow Plump period Caravan, seventies Soft Machine, and possibly even early Camel. The first album Envol Triangles has an overt yet subtle zeuhl presence, connecting it with the sound of bands like Zao, Weidorje, Paga and others, not overwhelming it, but adding to the unique sound of the band. Also felt is a hint of the band Shylock. For the second Album Les Saisons Marines they further developed the unique aspects of their sound, and shed some of the more derivative ones. The result is a positively stunning album of colorful acoustic-electric guitar and keyboard interchanges, odd time signatures, and compositional complexity. The CD reissue puts most of the material on Envol and Saisons on a single disc. For the third album Sarabandes, there is a stronger classical presence within their development, and a greater propensity to cut loose. Tracks like "Danza Vital" and "Hymne et Danse" offer ripping guitarwork and equally astonishing keyboard pyrotechnics. Others like "Porte Sur L'Ete" and "Cantiga De Santa Maria" showcase a more gentle side of the band's work. Any of these discs are an excellent introduction to what is probably one of the top five instrumental bands on the planet today.

Envol Triangles and Les Saisons Marines were the first two releases by the band Minimum Vital, and were available on cassette and LP formats, respectively, until the CD reissue, by the foremost French prog rock label, Musea. Minimum Vital's brand of music is very much in the French style, as characterised by bands such as Edhels, Asia Minor, and the like. The music is a blend of fusion and progressive rock, and all-instrumental, driven by guitars and keyboards, with a prominent flute presence on Envol Triangles. With two releases on one CD, the music clocks in at a little under 72 minutes. Also available is their subsequent release, Sarabandes. On this, the band really seems to have matured, and cover more ground than the previous releases, in that they employ a wider variety of moods and sounds in their musical pallette. This is probably the release with which one may gain an introduction to the band.

Minimum Vital groups four musicians on keyboards, guitars/voice, bass and drums. The music on Sarabandes is based on the compositions and interactions of the Payssan brothers (keyboards and guitars) who can count on a dynamic rhythm section. Their style is inspired by a strange mixture of symphonic rock, jazz et medieval folk. An excellent production blends acoustic and electric sonorities et usually maintains a certain lightness, except for truly heavier arrangements where the electric guitar work intensifies. Fresh music with a variety of influences that can reach the tastes of many. The foursome returns for La Source, with the compositions of the Payssan brothers (keyboards and guitars). Bass and drums still provide dynamic rhythms and guests on vocals (strange language) are now added. The music retains its lightness, symphonism as well as heavier guitar breaks. Dancing melodies and "modern" keyboard sounds can discourage fans of a more dramatic style; at least until the electric guitar kicks in. A strange blend of folk, rock, classical and jazz where multiple influences are fused in a contemporary sound. -- Paul Charbonneau

These folky French instrumentalists have received wide acclaim for their brand of modern French symphonic. Influenced by some of the early English bands as well as Atoll, Ange, and other French sympho outfits, Minimum Vital produces a very laid back sound. While "progressive," Minimum Vital takes the stylistic approach of bands like Eloy. Their pieces are solidly written, yet lack any dynamics or staying power for me. The drumming is especially a turn off - very mainstream, highly repetitive, etc. As a whole they are talented and their sound is more original than derivative, but it does little to keep my attention. The writing evokes nice melodies and catchy rhythms, but it is anything an amateur musician could play. Complexity level is low to mid. Many progressive rock fans regard this band highly, so keep that in mind when I add this to my list of overrated modern prog. Standing on its own, Minimum Vital is fine music, but compared to the best that the genre has to offer, they are completely mediocre. If you like the MV style, try out Italy's Nuova Era for a more energetic example of it. Many sympho fans would appreciate this offering, so I recommend they at least give it a listen before buying. If you're more oriented towards the fusion or RIO styles, give it two listens...

Combining elements of classical, jazz, and progressive, Minimum Vital creates a very unique sound. La Source is packed with loads of digital keyboards and a wide array of guitar sounds, and the textures keep changing to make it even more interesting. This band is masterful at creating a style within a song and wrapping it up into a coherent package. Each song on this album has its own flavor, and every one of them is fresh and unique. The performances by the keyboardist and guitarist are brilliant. The bassist also turns in a lively performance. And, best of all, someone (finally!) lit a fire under the drummer this time. His work on their previous albums was so lifeless, I thought for months that it was actually a drum machine programmed poorly. But here, he's turned it up several notches for an vibrant performance. The music is very bright and uplifting for the most part, sounding a little bit like Camel meets Kit Watkins. The sheer amount of digital keyboards and the occasional electronic drums make some of the passages seem a bit too cold and mechanical unfortuantely. Although each track has some vocals, they are used in a supporting role, rather than a lead role. This gives the album a predominantly instrumental feel. Easily the best work they have turned out to date, highly recommended, even to those who didn't like their earlier efforts (like me).

Perhaps the best-known, and nearly the best, of the new crop of French progressives on Musea. Envol Triangles establishes their sound, a distillation of late-period Canterbury music (mostly National Health), centred around Jean-Luc Payssan's guitar, which is very much in the Phil Miller mould. Digital keyboards give the music a decidedly modern feel, and Thierry Payssan is one of those rare few who can use them without sounding frigid. And while the drummer occasionally falls into foursquare rock pounding, he never stays that way for long. The band's debut, Envol Triangles, displays a strong flute presence in Anne Colas. It was her first and last album with the band, as both she and the original drummer (Antoine Fillon, replaced by Christophe Godot) left afterwards. Les Saisons Marines then appeared with no major alteration to the band's sound apart from some light vocalizing. (by guest vocalist Pascale Jakubowski) I haven't heard the band's third album, Sarabandes, but their latest album, La Source is my favourite. It is, if not their best album, their most memorable set of songs, and possibly the most representative of their sound. It also has the most vocals, with no less than three tracks with vocals. (by Jean-Luc Payssan) "Danse Des Voeux," "La Ville Emo" and "Tabou" are three of the most stimulating tracks here. Perhaps I'm just biased because La Source was the first Minimum Vital album I heard, but I'd say it's probably the best place to start, followed by Envol and Saisons. If you like National Health et al, you'll probably find Minimum Vital an entertaining continuation of the Health-y sound.

Given all the positive reviews on La Source, I had to throw my two cents in. Whats all the fuss about? The album opens with a horn (keyboard samples) section that sounds like it would fit on the next Phil Collins' studio album. To tell you the truth, Minimum Vital have always fallen short of my expectations, and I would rather have seen them try out the more instrumental side of their music. All of the songs are fairly simple (yet fleshed out a considerable degree), almost formulaic and have a digitally pristine sound that reminds me of most of the neo progressive groups. This is one album that many people are really going to like, its accessible, the melodies are often sunny, and its certainly symphonic. I suppose stylistically (with all the guitars and synth string chords) this is a progressive album, but to me it just sounds like a better than average pop album. Im sure this album will attract a lot of people overall, but if you're progressive tastes range to the more compplex, you'll probably be bored (especially with the boom thud drumming). It seems to me that MV succeeded doing what they wanted, although this is really not my style.

La Source is Minimum Vital's third CD and marks a break from the baroque and medieval flavor of their earlier releases. Although the CD artwork contains photos of medieval statues, the Minimum Vital quartet of keyboards, guitar, bass, and drums now plays a French form of jazz fusion. The lyrics of the opening song "Dance of Wishes (Song of May)" almost sound English but they are some sort of chant. "La Source" is mostly instrumental music by these accomplished musicians occasionally enhanced by soft falsetto vocals. The two songs that differ from the rest are "Les Mondes de Miranda" and "Ce Qui Soustient." "Les Mondes de Miranda" has a folk music theme reminding me of Amazing Blondel except for the brass samples. "Ce Qui Soustient" is a medieval rondo from the 14th Century by Guillaum de Machant given a wonderful treatment by Minimum Vital. I could almost picture myself in a cloister listening to this song. La Source is an interesting album that marks the evolution of the band.

Minimum Vital is a very good, relatively new band from France. They now have several albums released. My personal favorite, based on what I've heard are Envol Triangles, followed by Les Saisons Marines. The music is rather difficult to describe. Both albums have engaging compositions that are neither overly complex nor overly simple. The digital keyboards and acoustic and electric guitars create a rich sound with both a folk-like quality and a fusionesque edge. Minimum Vital can be soft without being pastoral. Other times, they rock pretty good. The music is often colorful and has very nice texture. Despite the digital synth (and occasional use of digital brass which I hate) the band gets some really cool sounds that, while not as fat as analog, are quite weighty. Part of the reason I like Envol Triangles better is the original drummer who I felt was a more engaging player. His style contributed greatly to the sound, making the album much more involving. There is also flute which contributes greatly to the texture. A new drummer and no flautist on Les Saisons Marines tends to make the album somewhat less exciting for me. I've heard one track from La Source which, to me, showed the band leaning toward a slightly more accessible or commercial sound. I give a high recommendation to Envol Triangles and Les Saisons Marines and suggest you move forward from there.

For those unfamiliar with the French band Minimum Vital Au Cercle De Pierre is an excellent introduction to the band's music. Recorded live in concert in 1997, it contains nine songs which cover the band's musical development from their first release Envol Triangle in 1985 all the way to their 1997 studio album Espirit D'Amor. Earlier songs build on stylish if non-emphasised interplay between guitar and typically expansive keyboards, and show influences ranging from Hispanic to Mediaeval. The later material is dominated by strong male and female vocals, highly rhythmic - almost danceable - and more straightforward. Actually some of it is more or less well-crafted pop music with prog-styled keyboard work, still very compelling in its own way. The only problem here is the drumming, which is solid to the fault, lacking the vibrancy and wildness that the non-European elements in the music crave (compare this to Peter Gabriel's fusion of European pop and non-European rhythms). A previously unreleased studio track "La Dernier Appel de la Guerre" is included, though this is a bit loose, jam-oriented instrumental stylistically somewhere between the old and the new material. The enhanced CD also offers a nice bonus in the form of a multimedia section which has four concert video clips, two more audio tracks and the band biography in French and English. It serves as a nice sum-up Minimum Vital, as the band's leaders Thierry and Jean-Luc Payssan would subsequently reinvent it as the scaled-down Vital Duo project. -- Kai Karmanheimo