HELDON - Forced Exposure

$28.00 IN STOCK

In 1973, 22-year-old Richard Pinhas was well on his way to becoming a full-time philosopher. He had almost finished his Ph.D and begun teaching at the University of Paris. But he also had a hobby: writing music and recording it himself. When he submitted a few tracks to British label E.G. (home of King Crimson and Roxy Music), the imprint was interested, but Pinhas was frustrated to find out he'd have to wait a year for them to release anything. So Pinhas put out his first album on his own label, Disjuncta. He called the project Heldon (from a location in Norman Spinrad's 1972 sci-fi novel The Iron Dream). It might have been the first self-released rock record in France. Most of Electronique Guerilla was made by Pinhas alone, but "Ouais, Marchais, Mieux Qu'en 68" featured five collaborators, including one of his mentors, Gilles Deleuze. Over winding guitars and pointed percussion, the French philosopher reads lyrics taken from Friedrich Nietzsche's The Voyager and His Shadow. Despite being self-released -- with Pinhas himself delivering some stock directly to record stores -- Electronique Guerilla quickly sold over 19,000 copies. That convinced Pinhas he should make and release more music by himself -- but he would have little time for philosophy. It's a choice he's stuck to for four decades, and the fiery Electronique Guerilla provided a potent spark.

$22.00 IN STOCK

2023 restock; LP version. Bureau B present a reissue of Heldon's 6 - Interface, originally released in 1977. A brilliant moment occurs right at the end of Heldon's sixth album, Interface. The album's final song, its side-long title track, builds up slowly into a roaring tornado of fiercely mutating drum patterns, effervescent synth work, and guitar licks that wail into the atmosphere like an abandoned astronaut. Then, after nearly 19 minutes of highly futuristic avant-garde space rock, this ultramodern music fades out and is replaced by a concluding few seconds of traditional blues-rock guitar. "We were finishing the track, the tape was rolling, and I started to play a normal boogie or whatever," remembers Heldon leader Richard Pinhas. "I think it was a good idea to keep it. It just came naturally, at the end." This event acts as a reminder of just how far rock n' roll had been transformed since its earliest incarnations. This blueprint had been jolted and nudged down all kinds of unexpected avenues after players like Chuck Berry and Bill Haley first found fame. The genre had branched out into every manner of mutated form. It had given rise to misshapen clones and had shifted into unrecognizable shapes, like a beautiful alien creature from one of the science fiction tales that were fondly admired by so many experimental rock musicians, Pinhas included. Heldon, surely, represented one of rock n' roll's most distant relatives; an innovative fusion of avant-garde rock sounds and synthesizer pulsations. At the same time, Interface's unexpected ending also tells us that such music, however improvisatory or fused with electronic elements, will forever have its roots in those early rock n' roll records that are responsible for so many varieties of aural exploration. Thanks to the increased presence of drummer François Auger and synth/Moog man Patrick Gauthier, Pinhas's project had solidified into a harder and heavier unit. Around the time of the album's release, the musician and composer Jean-Philippe Goude told Pinhas that because of its merging of synthesizer sounds with "real" instrumentation. Despite its often warm and near-funky feel, Interface has been cited as an influence on key industrial and noise musicians including Wolf Eyes and Merzbow.

$22.00 IN STOCK

2023 restock; LP version. Bureau B present a reissue of Heldon's seventh and final album of the 1970s Stand By, originally released in 1979. After the release of Stand By, Richard Pinhas focused on solo LPs before quitting music for around a decade. "It was the end of the tale," he explains. "We decided to split for many reasons. The main one was that one or two of the other musicians wanted to stop. They were session musicians, mainly. At one point they said they didn't have so much time to give. And it was a time when a lot of bands who had become reluctantly successful decided to split . . . Split at the top, not waiting to go down." Heldon certainly went out on a high. Stand By's mood remains urgent and gripping throughout, fashioned via immense synthesizer sounds, a plethora of interweaving drum patterns, spiraling guitar chops, and lurching riffs. It's been likened to krautrock, yet Pinhas never paid attention to the German scene. There are other similarities to parallel innovations that John Carpenter was making in the field of sci-fi/horror soundtracks. The hazmat-suit-wearing figure on Stand By's cover could have starred in such a movie. The album's unearthly vocals were provided by Klaus Blasquiz of Magma. Some progressive musicians of the '70s felt threatened by the rise of punk -- Not Pinhas. As producer, he worked with French punk acts like Asphalt Jungle. No, Pinhas was more troubled by wider world developments. These miseries played their own part in Heldon's demise. "We recorded Stand By in '78, going into '79. Politics had all shifted to the right with your Maggie Thatcher and, in America, that very bad actor. They started the bullshit of neoliberalism that we have to live with now, everywhere. We're going to be in a very fascistic world within twenty years. Not even that long. The initiation of this change came with Reagan and Maggie. It started in the '80s." Stand By was recorded at Studio Davout, the Parisian home to recordings by everyone from Karlheinz Stockhausen to Johnny Hallyday. That, too, has fallen victim to brutal economics. It was demolished in 2018. "They destroyed the main historical studio in France to put up a supermarket!" says Pinhas. "It was a place where a lot of things happened. Musicians were working all night long. It could've been a museum for music."

$22.00 IN STOCK

2024 restock; LP version. Bureau B present a reissue of Heldon's Un Rêve Sans Conséquence Spéciale, originally released in 1976. Heldon's Richard Pinhas has never been shy of pinpointing his influences while, at the same time, making music that is noticeably distinct from any of his designated sources. He has, for instance, made it clear that a significant font of inspiration was Robert Fripp's guitar style and melding of rock music with cutting-edge electronics (especially in collaboration with Brian Eno). Indeed, Heldon's fifth album, Un Rêve Sans Conséquence Spéciale, was named after a live bootleg of a King Crimson concert. Pinhas first met Fripp in 1974, and the pair became friends and have remained in contact ever since. Pinhas was even offered a deal with E.G. Records, the company that oversaw King Crimson alongside other successful groups like Roxy Music and ELP. "That was a dream," says Pinhas. "But when you are 22, you are in a hurry. They asked me to wait one or two years before joining the team. I couldn't wait two years!" Instead, Pinhas launched his own label, Disjuncta, which he later sold to purchase the Moog synthesizer that would make a huge difference to Heldon's sound. Heldon's output also drew from radical science fiction (Philip K. Dick, Norman Spinrad, etc.) as well as philosophy: the sleeve features a quote from Pierre Klossowski's Nietzsche and the Vicious Circle (1969). Heldon never represented a mere facsimile of Pinhas's musical touchstones: King Crimson, Jimi Hendrix, Miles Davis, or Frank Zappa. Heldon was always its own beast and by 1976 it was thriving and roaring like never before. More work was being completed in a proper studio, the Moog helped strengthen the sound and direction, and Pinhas's rotating cast of collaborators was solidifying into something resembling a regular lineup, with François Auger on drums and Patrick Gauthier on synthesizers. The result was a darker, heavier, and more intense sound. The LP opens with the prog-gone-skronk onslaught of "Marie Virginie C", sounding rather like Robert Fripp being sliced into bloody chunks in Thurston Moore's basement. Auger is the star of "Elephanta", in all its Moog-assisted polyrhythmic glory. On side two, "MVC II" offers six minutes of sinister dystopian squelch rock. It's followed by "Toward The Red Line", an epic piece conceivably serving to connect the dots between Hawkwind's most freeform passages and the Detroit techno innovations of the coming decade.

$17.00 IN STOCK

Bureau B present a reissue of Heldon's 6 - Interface, originally released in 1977. A brilliant moment occurs right at the end of Heldon's sixth album, Interface. The album's final song, its side-long title track, builds up slowly into a roaring tornado of fiercely mutating drum patterns, effervescent synth work, and guitar licks that wail into the atmosphere like an abandoned astronaut. Then, after nearly 19 minutes of highly futuristic avant-garde space rock, this ultramodern music fades out and is replaced by a concluding few seconds of traditional blues-rock guitar. "We were finishing the track, the tape was rolling, and I started to play a normal boogie or whatever," remembers Heldon leader Richard Pinhas. "I think it was a good idea to keep it. It just came naturally, at the end." This event acts as a reminder of just how far rock n' roll had been transformed since its earliest incarnations. This blueprint had been jolted and nudged down all kinds of unexpected avenues after players like Chuck Berry and Bill Haley first found fame. The genre had branched out into every manner of mutated form. It had given rise to misshapen clones and had shifted into unrecognizable shapes, like a beautiful alien creature from one of the science fiction tales that were fondly admired by so many experimental rock musicians, Pinhas included. Heldon, surely, represented one of rock n' roll's most distant relatives; an innovative fusion of avant-garde rock sounds and synthesizer pulsations. At the same time, Interface's unexpected ending also tells us that such music, however improvisatory or fused with electronic elements, will forever have its roots in those early rock n' roll records that are responsible for so many varieties of aural exploration. Thanks to the increased presence of drummer François Auger and synth/Moog man Patrick Gauthier, Pinhas's project had solidified into a harder and heavier unit. Around the time of the album's release, the musician and composer Jean-Philippe Goude told Pinhas that because of its merging of synthesizer sounds with "real" instrumentation. Despite its often warm and near-funky feel, Interface has been cited as an influence on key industrial and noise musicians including Wolf Eyes and Merzbow.

$17.00 IN STOCK

Bureau B present a reissue of Heldon's seventh and final album of the 1970s Stand By, originally released in 1979. After the release of Stand By, Richard Pinhas focused on solo LPs before quitting music for around a decade. "It was the end of the tale," he explains. "We decided to split for many reasons. The main one was that one or two of the other musicians wanted to stop. They were session musicians, mainly. At one point they said they didn't have so much time to give. And it was a time when a lot of bands who had become reluctantly successful decided to split . . . Split at the top, not waiting to go down." Heldon certainly went out on a high. Stand By's mood remains urgent and gripping throughout, fashioned via immense synthesizer sounds, a plethora of interweaving drum patterns, spiraling guitar chops, and lurching riffs. It's been likened to krautrock, yet Pinhas never paid attention to the German scene. There are other similarities to parallel innovations that John Carpenter was making in the field of sci-fi/horror soundtracks. The hazmat-suit-wearing figure on Stand By's cover could have starred in such a movie. The album's unearthly vocals were provided by Klaus Blasquiz of Magma. Some progressive musicians of the '70s felt threatened by the rise of punk -- Not Pinhas. As producer, he worked with French punk acts like Asphalt Jungle. No, Pinhas was more troubled by wider world developments. These miseries played their own part in Heldon's demise. "We recorded Stand By in '78, going into '79. Politics had all shifted to the right with your Maggie Thatcher and, in America, that very bad actor. They started the bullshit of neoliberalism that we have to live with now, everywhere. We're going to be in a very fascistic world within twenty years. Not even that long. The initiation of this change came with Reagan and Maggie. It started in the '80s." Stand By was recorded at Studio Davout, the Parisian home to recordings by everyone from Karlheinz Stockhausen to Johnny Hallyday. That, too, has fallen victim to brutal economics. It was demolished in 2018. "They destroyed the main historical studio in France to put up a supermarket!" says Pinhas. "It was a place where a lot of things happened. Musicians were working all night long. It could've been a museum for music."

$17.00 IN STOCK

Bureau B present a reissue of Heldon's Un Rêve Sans Conséquence Spéciale, originally released in 1976. Heldon's Richard Pinhas has never been shy of pinpointing his influences while, at the same time, making music that is noticeably distinct from any of his designated sources. He has, for instance, made it clear that a significant font of inspiration was Robert Fripp's guitar style and melding of rock music with cutting-edge electronics (especially in collaboration with Brian Eno). Indeed, Heldon's fifth album, Un Rêve Sans Conséquence Spéciale, was named after a live bootleg of a King Crimson concert. Pinhas first met Fripp in 1974, and the pair became friends and have remained in contact ever since. Pinhas was even offered a deal with E.G. Records, the company that oversaw King Crimson alongside other successful groups like Roxy Music and ELP. "That was a dream," says Pinhas. "But when you are 22, you are in a hurry. They asked me to wait one or two years before joining the team. I couldn't wait two years!" Instead, Pinhas launched his own label, Disjuncta, which he later sold to purchase the Moog synthesizer that would make a huge difference to Heldon's sound. Heldon's output also drew from radical science fiction (Philip K. Dick, Norman Spinrad, etc.) as well as philosophy: the sleeve features a quote from Pierre Klossowski's Nietzsche and the Vicious Circle (1969). Heldon never represented a mere facsimile of Pinhas's musical touchstones: King Crimson, Jimi Hendrix, Miles Davis, or Frank Zappa. Heldon was always its own beast and by 1976 it was thriving and roaring like never before. More work was being completed in a proper studio, the Moog helped strengthen the sound and direction, and Pinhas's rotating cast of collaborators was solidifying into something resembling a regular lineup, with François Auger on drums and Patrick Gauthier on synthesizers. The result was a darker, heavier, and more intense sound. The LP opens with the prog-gone-skronk onslaught of "Marie Virginie C", sounding rather like Robert Fripp being sliced into bloody chunks in Thurston Moore's basement. Auger is the star of "Elephanta", in all its Moog-assisted polyrhythmic glory. On side two, "MVC II" offers six minutes of sinister dystopian squelch rock. It's followed by "Toward The Red Line", an epic piece conceivably serving to connect the dots between Hawkwind's most freeform passages and the Detroit techno innovations of the coming decade.

$17.00 IN STOCK

Bureau B present a reissue of Heldon's fourth album Agneta Nilsson, originally released on Urus Records in 1976. Agneta Nilsson opens with a mind-paralyzing track that proves stillness can have a pulse. "Perspective I" spends ten minutes poring through tectonic layers of heavy sound, piling everything so thick that the song becomes like quicksand for your brain. It's one of the most daunting works in the Heldon catalog, made all the more impressive by how simple it is. It's just sounds put together and turned up. It's the vital alchemy of Richard Pinhas's wizardry, deployed with maximum force. As on other early Heldon albums, the rest of Agneta Nilsson is diverse in a nearly contrarian way. Each track refuses to mimic its predecessor in a way that feels rebellious, like a child running away from home. This is true despite the fact that three of the four pieces are actually chapters of "Perspective", partners in a thematic whole. "Each one is a different point of view on the same field," explains Pinhas. "Different parts, different arrangements, but with a full concept in place." It's not easy to divine that concept in these pieces, but their sibling nature has a subconscious effect. The album-closing "Perspective IV" is one of Pinhas's most unabashedly proto-prog guitar-hero epics, boosted by a technical upgrade. "This was the first album where I had enough money to rent one or two days in a real studio to do the drumming," says Pinhas. "After that we had real budgets for studio time. That all changed with and after Agneta Nilsson -- that was a good turn." Pinhas parlayed Heldon's change of direction into three more adventurous albums in the '70s, and simultaneously spurred himself toward a solo career that continues to prod and probe the sonic universe today, over 40 years since he began. It would be wrong to say this album was the big bang of this singular career; the seeds of were planted years before, and every work Pinhas has been involved with sprouts more sounds and ideas that can grow into their own branches. But Agneta Nilsson is one of the most convincing pieces of evidence that Pinhas is incapable of sitting still. 2018 remaster by Willem Makkee.

$26.00 IN STOCK

2021 restock; LP version. Bureau B present a reissue of Heldon's fourth album Agneta Nilsson, originally released on Urus Records in 1976. Agneta Nilsson opens with a mind-paralyzing track that proves stillness can have a pulse. "Perspective I" spends ten minutes poring through tectonic layers of heavy sound, piling everything so thick that the song becomes like quicksand for your brain. It's one of the most daunting works in the Heldon catalog, made all the more impressive by how simple it is. It's just sounds put together and turned up. It's the vital alchemy of Richard Pinhas's wizardry, deployed with maximum force. As on other early Heldon albums, the rest of Agneta Nilsson is diverse in a nearly contrarian way. Each track refuses to mimic its predecessor in a way that feels rebellious, like a child running away from home. This is true despite the fact that three of the four pieces are actually chapters of "Perspective", partners in a thematic whole. "Each one is a different point of view on the same field," explains Pinhas. "Different parts, different arrangements, but with a full concept in place." It's not easy to divine that concept in these pieces, but their sibling nature has a subconscious effect. The album-closing "Perspective IV" is one of Pinhas's most unabashedly proto-prog guitar-hero epics, boosted by a technical upgrade. "This was the first album where I had enough money to rent one or two days in a real studio to do the drumming," says Pinhas. "After that we had real budgets for studio time. That all changed with and after Agneta Nilsson -- that was a good turn." Pinhas parlayed Heldon's change of direction into three more adventurous albums in the '70s, and simultaneously spurred himself toward a solo career that continues to prod and probe the sonic universe today, over 40 years since he began. It would be wrong to say this album was the big bang of this singular career; the seeds of were planted years before, and every work Pinhas has been involved with sprouts more sounds and ideas that can grow into their own branches. But Agneta Nilsson is one of the most convincing pieces of evidence that Pinhas is incapable of sitting still. 2018 remaster by Willem Makkee.

$21.00 IN STOCK

Bureau B present a reissue of Heldon's third album Third (It's Always Rock 'N' Roll), originally released on Disjuncta in 1975. Third album from the French space-rock electro combo masterminded by Richard Pinhas. Heldon's darkest work lays another stone in their sonic mosaic: synths, drones, fuzz, and trippy improvisations. There's something wicked happening on Heldon's third album It's Always Rock And Roll. Richard Pinhas's essential attack of searing guitar and space-bound synthesizer didn't change radically after the first two Heldon albums, 1974's Electronique Guerilla (BB 280CD/LP) and 1975's Allez-Teia (BB 281CD/LP). But there's dark energy coursing through this double album, a chilly aura that makes even the quietest pieces shiver with tension. "At this time, I tried to turn Heldon into a darker band," Pinhas admits. "But dark is not negative to me." The darkness of It's Always Rock And Roll is more about exploring what's hidden and overturning convention -- about diving beneath bright surfaces to find something more mysterious. If It's Always Rock And Roll stands up in Heldon's catalog, perhaps it's due to expansion -- both in the sense of big ideas and lengthy durations. Most tracks last over seven minutes, and two are side-covering epics. "I think the length of a track is part of the creation of the track," says Pinhas. "There are imperatives. You can do something very complex with a lot of events in four minutes, and then some other things need to be done very slowly. You have to do the length that it demands." "We recorded this after having met with Philip K. Dick in California for two days," recalls Pinhas. "It was such an event for a 23-year old; he was to me one of the last real prophets. We talked about Jung, we talked about a lot of things. Maybe this encounter gave birth to all of Heldon Third." So the sci-fi master spawned a dark audio creation to rival his own work. Like the Heldon albums that precede it, It's Always Rock And Roll is undoubtedly Pinhas' baby. But its depth-probing sounds earned it a godfather, too. 2018 remaster by Willem Makkee.

$33.00 IN STOCK

2022 restock; Double LP version. Bureau B present a reissue of Heldon's third album Third (It's Always Rock 'N' Roll), originally released on Disjuncta in 1975. Third album from the French space-rock electro combo masterminded by Richard Pinhas. Heldon's darkest work lays another stone in their sonic mosaic: synths, drones, fuzz, and trippy improvisations. There's something wicked happening on Heldon's third album It's Always Rock And Roll. Richard Pinhas's essential attack of searing guitar and space-bound synthesizer didn't change radically after the first two Heldon albums, 1974's Electronique Guerilla (BB 280CD/LP) and 1975's Allez-Teia (BB 281CD/LP). But there's dark energy coursing through this double album, a chilly aura that makes even the quietest pieces shiver with tension. "At this time, I tried to turn Heldon into a darker band," Pinhas admits. "But dark is not negative to me." The darkness of It's Always Rock And Roll is more about exploring what's hidden and overturning convention -- about diving beneath bright surfaces to find something more mysterious. If It's Always Rock And Roll stands up in Heldon's catalog, perhaps it's due to expansion -- both in the sense of big ideas and lengthy durations. Most tracks last over seven minutes, and two are side-covering epics. "I think the length of a track is part of the creation of the track," says Pinhas. "There are imperatives. You can do something very complex with a lot of events in four minutes, and then some other things need to be done very slowly. You have to do the length that it demands." "We recorded this after having met with Philip K. Dick in California for two days," recalls Pinhas. "It was such an event for a 23-year old; he was to me one of the last real prophets. We talked about Jung, we talked about a lot of things. Maybe this encounter gave birth to all of Heldon Third." So the sci-fi master spawned a dark audio creation to rival his own work. Like the Heldon albums that precede it, It's Always Rock And Roll is undoubtedly Pinhas' baby. But its depth-probing sounds earned it a godfather, too. 2018 remaster by Willem Makkee.

$20.00 IN STOCK

RSD 2018 release. Richard Pinhas, the founder of '70s legends Heldon, is one of France's best known experimental musicians and is a key figure in development of rock music fusing with electronic music. In 1977 Heldon played three unreleased tracks during this tour -- these titles have never been recorded since. Bam Balam Records thought that these three tracks were lost forever, but luckily they were found recently. The sound is rough, but it's a rare document. Live In Metz '77 was produced by French guitarist and producer Richard Pinhas. All tracks side A are unreleased versions and have never been edited before. Color vinyl; Edition of 1000.

$17.00 IN STOCK

Bureau B present a reissue of Heldon's second album Allez-Teia, originally released on Disjuncta in 1975. Before making his own music in the early '70s, Richard Pinhas was a King Crimson fan. The British group has buzzed in Pinhas's mind for decades, but their greatest impact came early. 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 Allez- Teia, originally released in 1975 on Pinhas's own Disjuncta label. "In The Wake Of King Fripp" is a soaring mix of string-like electronics and smeared guitar, a reference both to the guitarist and King Crimson's second album In The Wake Of Poseidon (1970). The meditative "Omar Diop Blondin", in which free tones float above a repetitive guitar figure, is dedicated to Fripp and Eno. A 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 -- the title a nod to the ancient Greek term for philosophical truth, "aletheia" -- is hardly a tribute album. The pieces Pinhas crafts with partner Georges Grunblatt -- guitar, Mellotron, ARP synths -- are beatific on the surface but infused with undercurrents of tension. Over four decades after he made Allez-Teia, Pinhas's admiration for King Crimson remains profound. He actually met Fripp in 1974, and the two still stay in touch. "We have a great friendship; he has been very helpful," says Pinhas. "Fripp has always been my Hendrix." Some artists might balk at admitting such strong influence over their own work, but for Pinhas it's all about respect. "In the academic world in France, you list your sources," says Pinhas, who received a PhD in philosophy before launching his music career. "So I thought it was good to say, 'Yes, we are influenced by this, and we are proud of it, and people have to know it.' The work of King Crimson at that time was very important. It's not a secret." 2018 remaster by Willem Makkee.

$26.00 IN STOCK

2021 restock; LP version. Bureau B present a reissue of Heldon's second album Allez-Teia, originally released on Disjuncta in 1975. Before making his own music in the early '70s, Richard Pinhas was a King Crimson fan. The British group has buzzed in Pinhas's mind for decades, but their greatest impact came early. 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 Allez- Teia, originally released in 1975 on Pinhas's own Disjuncta label. "In The Wake Of King Fripp" is a soaring mix of string-like electronics and smeared guitar, a reference both to the guitarist and King Crimson's second album In The Wake Of Poseidon (1970). The meditative "Omar Diop Blondin", in which free tones float above a repetitive guitar figure, is dedicated to Fripp and Eno. A 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 -- the title a nod to the ancient Greek term for philosophical truth, "aletheia" -- is hardly a tribute album. The pieces Pinhas crafts with partner Georges Grunblatt -- guitar, Mellotron, ARP synths -- are beatific on the surface but infused with undercurrents of tension. Over four decades after he made Allez-Teia, Pinhas's admiration for King Crimson remains profound. He actually met Fripp in 1974, and the two still stay in touch. "We have a great friendship; he has been very helpful," says Pinhas. "Fripp has always been my Hendrix." Some artists might balk at admitting such strong influence over their own work, but for Pinhas it's all about respect. "In the academic world in France, you list your sources," says Pinhas, who received a PhD in philosophy before launching his music career. "So I thought it was good to say, 'Yes, we are influenced by this, and we are proud of it, and people have to know it.' The work of King Crimson at that time was very important. It's not a secret." 2018 remaster by Willem Makkee.

$17.00 IN STOCK

Bureau B present a reissue of Heldon's debut album Electronique Guerilla, originally released on Disjuncta in 1974. In 1973, 22-year old Richard Pinhas was well on his way to becoming a full-time philosopher. He had almost finished his PhD and begun teaching at the University of Paris. But he also had a hobby: writing music and recording it himself. When he submitted a few tracks to British label E.G. (home of King Crimson and Roxy Music), the imprint was interested, but Pinhas was frustrated to find out he'd have to wait a year for them to release anything. So Pinhas put out his first album on his own label, Disjuncta. He called the project Heldon (from a location in Norman Spinrad's 1972 sci-fi novel The Iron Dream). It might have been the first self-released rock record in France. "Or at least the first one that worked," says Pinhas. "It was like a musical and political event in France. Musical because there were few artists using synthesizers here, or even in the world. And political because we tried to say that the big companies make everything bad and their records are too expensive." Most of Electronique Guerilla was made by Pinhas alone, but "Ouais, Marchais, Mieux Qu'en 68" featured five collaborators, including one of his mentors, Gilles Deleuze. Over winding guitars and pointed percussion, the French philosopher reads lyrics taken from Friedrich Nietzsche's "The Voyager and His Shadow" (1880). Despite being self-released -- with Pinhas himself delivering some stock directly to record stores -- Electronique Guerilla quickly sold over 19,000 copies. That convinced Pinhas he should make and release more music by himself -- but he would have little time for philosophy. "I had to make a decision, because at that point in France, you couldn't do two jobs," he remembers. "So I made this very bad choice to be a rock 'n' roll musician." It's a choice he's stuck to for four decades, and the fiery Electronique Guerilla provided a potent spark. 2018 remaster by Willem Makkee.

$26.00 IN STOCK

2023 restock; LP version. Bureau B present a reissue of Heldon's debut album Electronique Guerilla, originally released on Disjuncta in 1974. In 1973, 22-year old Richard Pinhas was well on his way to becoming a full-time philosopher. He had almost finished his PhD and begun teaching at the University of Paris. But he also had a hobby: writing music and recording it himself. When he submitted a few tracks to British label E.G. (home of King Crimson and Roxy Music), the imprint was interested, but Pinhas was frustrated to find out he'd have to wait a year for them to release anything. So Pinhas put out his first album on his own label, Disjuncta. He called the project Heldon (from a location in Norman Spinrad's 1972 sci-fi novel The Iron Dream). It might have been the first self-released rock record in France. "Or at least the first one that worked," says Pinhas. "It was like a musical and political event in France. Musical because there were few artists using synthesizers here, or even in the world. And political because we tried to say that the big companies make everything bad and their records are too expensive." Most of Electronique Guerilla was made by Pinhas alone, but "Ouais, Marchais, Mieux Qu'en 68" featured five collaborators, including one of his mentors, Gilles Deleuze. Over winding guitars and pointed percussion, the French philosopher reads lyrics taken from Friedrich Nietzsche's "The Voyager and His Shadow" (1880). Despite being self-released -- with Pinhas himself delivering some stock directly to record stores -- Electronique Guerilla quickly sold over 19,000 copies. That convinced Pinhas he should make and release more music by himself -- but he would have little time for philosophy. "I had to make a decision, because at that point in France, you couldn't do two jobs," he remembers. "So I made this very bad choice to be a rock 'n' roll musician." It's a choice he's stuck to for four decades, and the fiery Electronique Guerilla provided a potent spark. 2018 remaster by Willem Makkee.

$23.00 IN STOCK

Souffle Continu Records present a reissue of Heldon's Un Rêve Sans Conséquence Spéciale, originally released on Cobra in 1976. In Heldon, nobody particularly likes liner notes. However, although the group's albums have none, they abound, from the very beginning, with clues and often cryptic references. The name of the group, obviously, comes from a science fiction novel by Norman Spinrad, but perhaps it is less well known that the title of the album Un Rêve Sans Conséquence Spéciale is taken from a pirate recording of King Crimson made in 1974, an elegant way to state the possible lineage between guitarist (and synthesizer player) Richard Pinhas and Robert Fripp, his peer in the British band. Likewise, Richard Pinhas values the philosophers Lyotard, Nietzsche, and Deleuze, and the cover of Un Rêve Sans Conséquence Spéciale quotes theology specialist Pierre Klossowski, according to whom all creators owe it themselves to provoke a "state of insecurity straying from the oppressive regime of mediocrity". Having been a precursor of the home studio, Richard Pinhas came to the Davout studios to record the fifth Heldon album Un Rêve Sans Conséquence Spéciale. He had a special space reserved for him, where there was a Moog 3 which had belonged to Paul McCartney. Intense, violent, bitter, abrasive, uncompromising: the first on-site recording is in keeping with the four predecessors, prefiguring both industrial- and post-rock, showing once again that the early references to "guerrilla electronics" (and to William S. Burroughs) were not in vain. The newcomers to this universe, bassist Didier Batard (Coeur Magique, Triptyque), on one track, and drummer François Auger (heard on the fifth album by Gérard Manset) finally transform Heldon into a fiery power trio for the inspired "MVC II". Without forgetting that the faithful Patrick Gauthier is also on board, as is Jannick Top (Magma), each on one track. Listening to the result it is easy to understand why Merzbow, Wolf Eyes, and Oren Ambarchi, in the 2000s wanted to record with Richard Pinhas. It must also be noted that the often-made comparison between Heldon/Richard Pinhas and King Crimson/Robert Fripp, while still pertinent, if insufficient, as Un Rêve Sans Conséquence Spéciale breaks much new ground beyond those horizons. High quality mastering from Richard Pinhas's original masters; Licensed from Richard Pinhas. Obi strip; matte printing. Clear purple vinyl; Edition of 700.

$16.50 NOT IN STOCK

This release marks the third release from Souffle Continu Records, the newly-founded label by the Parisian record shop. Perspectives, the companion EP to the Heldon IV/Agnetta Nilsson LP, came out in 1976 and saw Heldon toughening its music with the appearance of sequencer and Moog. "Pure savage electronic energy," as would later describe Dominique Grimaud and Eric Deshayes. Now almost impossible to find, this record is available again for the first time in almost 40 years in its original shape in an edition of 700 copies, pressed on solid orange vinyl.