01	Le chamadere						13:51
	02	Piano caveau						07:18
	03	In The Secret Side Of Your Eyes						04:04
	04	Toutes ces images						08:07
	05	La guepe						08:39
	06	L'adieu au Pierrot						00:59
	07	Final						03:03
	08	L'hiver (Les quatre saisons de l'enfer 1ere Partie) (Live)						04:39
	09	Le Pierrot (live version)						05:07
	10	L'adieu (live version)						03:22
	11	Piano caveau (instrumental & different mix)						07:16

Musea Records (FGBG 4126.AR)
France 1978

Patrick Woindrich, bass, guitar, vocals;
Nicolas Popowski, guitar, vocals;
Francois Faugieres, organ, Mellotron, vocals;
Pierre Kuti, acoustic and electric pianos, synths;
Bernard Minig, drums;
Marc Meryl, lead vocals, tambourine;

with Philippe Honore, flute, saxophone; Yves Javault, vocals; Christine Mariey, voice; Martine Rateau, voice

Brandon Wu:
Pretty interesting dark prog from 1970s France, which borders somewhere between symphonic rock and Crimsonish hard rock. The dark sound is accomplished mostly by an aggressive vocal style and the very rough, almost grungy timbre of both the guitar and the keys and synths. Not for the faint of heart or for those who enjoy symphonic rock solely for its more beautiful moments. The sound here is harshly alien for the most part (but there are some moments of strange beauty, to be sure), though still distinctly French. Compositions are solid if nothing really amazing or memorable; the first four tracks of the seven original ones are the best. I haven't found much merit in the four (!) bonus tracks just yet. The opening epic is superb, maintaining an otherworldly, claustrophobic mood throughout, and ending on a resigned, pessimistic note. The third track is somewhat atypical and at times sounds almost Italian, with its touches of flute and generally less oppressive feel. Some people complain about the "theatric French vocals", but I don't have a problem with them - they are a bit gravelly and and sometimes loud, but otherwise don't really get in the way. Overall I would recommend this to anyone who enjoys the French theatric bands such as Ange - this is a solid release, above average but not classic.


Arachnoid [France]
Updated 8/14/00
Discography
Arachnoid (79)

Maybe the very best of the French one-shots, Arachnoid's 1979 self-titled album is a masterpiece, brimming over in intensity and plain good taste. Very Crimsonesque, and often symphonic, yet not in the normally associated way, the album is extremely original and likeable, with a full sound not normally associated with the French. A must!
One-shot French band from around 1976, heavily influenced by mid-period Crimson, yet still uniquely french sounding, instrumental with dual keys and blistering guitar, sometimes very strange and unique sounding, but overall it's nothing to write home about.
Ha, this is distinctly French, developed kind of mellowness. Mixture between Ange and KC? Maybe. Although it doesn- t sound all that mellow, but that-s because here one can hear more dissonances than on all GG-s and KC middle period albums together. Superb stuff. It-s fairly dissonant but on the softer side. Sometimes I can imagine "I Talk to the Wind" with tritonuses would sound like that. Great!!!! Through and through progressive and unique, much better than other french bands. Hard to define, perhaps blending of early and middle period KC with Bartok or Stravinsky in a very wide environment. Sometimes it sounds very dark, almost like Univers Zero. I tried it with space cookies, but not succeeded to put it through. (What would happen if I-d tried Univers Zero?) Highly recommended for all adventurous progsters. -- Nenad Kobal


Arachnoid's only album is an amazing opus from 1978 that combined the strengths of other French symphonic groups like Shylock and Ange into a darkly futuristic and aggressive blend. Another frequent comparison made to Arachnoid is King Crimson, and the band is definitely influenced by that group's mid-period albums. Digital synths seem to be abound, in tandem with traditional "prog" instruments like mellotron and organ, though their presence does not detract at all, but are used appropriately to create a distinct nightmarish technological atmosphere. Vocals are carried out in a style that is rather similar to that of Christian DeCamps from Ange, often harsh but ultimately very effective. Layers of keyboard melodies are backed by towering mellotron and distorted, churning guitar rhythms. The band drifts into angular dissonant territories occasionally, but for the most part keeps things darkly haunting and beautiful, yet with an omnipresent aggressive edge.
The first song is without a doubt one of the most incredible dark progressive songs ever, completely epic and chock full of pounding rhythm and soaring synthesizer passages. "Toutes Ces Images" is another highlight, and possibly the best track on the album. Equal parts Pulsar and Shylock, the band begins sedate and symphonic before completely ripping things apart here. Floating mellotron passages gradually build into and explosive, guitar/keyboard led finale that sounds like a hole being torn in the side of the universe. "La Guepe" leans more towards the Crimson side of things, with angular polyrhythmic textures that builds into a grooving dark carnival like vibe reminiscent of Ange. Overall, this could be the finest symphonic album I've heard out of France yet. Visionary and perfectly executed. A classic slice of dark progressive for sure. If you love Pulsar (as I do), prime Ange or the first track on Shylock's Il De Fievre, definitely grab this puppy.

- Greg Northrup [April 2001]