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Search Result for Artist Jac Berrocal
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SCIE 3323LP
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Several years of mutual appreciation and encounters on and off-stage have been the root of this chance meeting, resulting in an unplanned mysterious collaboration album where the aura of each individual is augmented by the magic osmosis of united forces. The 12-tracks display a collage of dreamy musique concrète with desolate instrumental and vocal interventions, masterfully balanced out by Vincent Epplay.
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10"
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AKU 1049LP
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Boîte Boîte is the latest collection from French trumpeter Jac Berrocal. Composed of rare and previously unreleased tracks, it plunges the listener into the fascinating world of this unclassifiable and timeless avant-garde artist. Recorded between Paris, New York, Berlin and Riga, the works are received like postcards from an unknown sender and enjoyed without moderation. The selection, devised by Jac Berrocal himself, oscillates between experimental tracks such as the eponymous "Boîte Boîte" and electronic pop delusions such as "Amarena." Impeccably mixed by Vincent Epplay. Limited edition.
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GG 402CD
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"Jac Berrocal is a 1946-born musician (trumpet player), poet and sometime film actor who came of age in the '70s Paris improv scene, where the boundaries between music, art and theater were porous and begging to be breached. During the '70s his uproarious performances routinely wound-up jazz and rock audiences alike, but earned the admiration of many musicians: Steven Stapleton invited him to perform on two Nurse With Wound albums, and other notable collaborators in his career include Sunny Murray, Lol Coxhill, and James Chance. Fenech cut his teeth in the mail-art scene of the early '90s, leading the Peu Importe collective in Grenoble. His 2000 solo debut was recently reissued by Felix Kubin's Gagarin label, and he has also worked as a software developer at IRCAM, and played with Jad Fair, Tom Cora, Rhys Chatham and James Plotkin; in 2011 he formed a trio with Berrocal and Ghedalia Tazartes for the Superdisque LP. Epplay is a highly regarded sonic and visual artist with a particular interest in aleatory composition and autonomous pieces, concrète, and the puckish reappropriation of vintage sound and film material, with dozens of published works to his name on labels like Alga Marghen and PPT/Stembogen. Transcodex is the fourth album by the trio. Turning more towards pop than in their beginnings, this fourth record follows the footsteps of their previous album, Exterior Lux. The trio seems limitless: they experiment with a large variety of styles (pop, dub, electronica, dark jazz), always colored by their very own touch. For this album, they invited two amazing musicians. Jah Wobble, founding member of the mighty Public Image Ltd. and Jean-Hervé Peron, one of the fathers of German krautrock legend Faust."
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AKU 1037LP
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Jac Berrocal, David Fenech, and Vincent Epplay are back with a true gem of an album: Transcodex. Turning more towards pop than in their beginnings, this fourth record follows the footsteps of their previous album, Exterior Lux (AKU 1026LP, 2021). The trio seems limitless: they experiment with a large variety of styles (pop, dub, electronica, dark jazz), always colored by their very own touch. Jac Berrocal's trumpet, richer than ever, plays over an ever-changing sonic landscape engineered by the duet of musicians/producers Vincent Epplay and David Fenech. For this album, they invited two amazing musicians: Jah Wobble (founding member of Public Image Ltd and collaborator of African Head Charge, Brian Eno, Holger Czukay, Jaki Liebezeit, Evan Parker, Sinéad O'Connor) plays deep bass lines on two tracks and Jean-Hervé Peron (founding member of the German band Faust, and who recorded with Tony Conrad, Nurse With Wound, Pascal Comelade) brings his prowess to two tracks as well. Peron writes lyrics in French, German, and Russian -- and plays the French horn like no one else/ The closing track of the A side is a tribute to Christophe Bevilacqua (1945-2020), friend to Jac Berrocal. The song summons the place Bevilacqua used to live in: an Art Deco flat on Boulevard du Montparnasse, Paris. Even if its intentions are clear, Transcodex does not reveal all its secrets right away. It's up to you to find the solution, the key, the Transcodex yourself. It must be revisited over and over again for its beauty to be fully revealed.
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ROTOR 072PIN-LP
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LP version. Pink vinyl. 200 gram vinyl; numbered and limited edition of 99 copies. Rotorelief present a reissue of Jac Berrocal's Paralleles, originally released in 1976. Paralleles 1976, Vince Taylor, the Black Archangel of rock n' roll, agrees to come and record "Rock'n Roll Station", a piece of futuristic clinking of a bicycle wheel. Other sessions contrary to custom, a pigsty with microphones mired in the middle of unruly pigs, towels shaken by Pierre Bastien in the middle of this "bric-a-brac" a noisy piece in homage to Luigi Russolo repertoire reorganized by bonuses and unpublished from the same period.
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ROTOR 073LP
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Rotorelief present a reissue of Jac Berrocal's Catalogue, originally released in 1980. Jac Berrocal and his "marquises of disorder" make the guitars rattle in primrose-sprayed vomit, patchwork of uncontrollable slows, furious accordion (Claude Parle) and martial rocks. Kind of "micro-cinemas put end-to-end", a maelstrom of cries and saturation which, paradoxically, an album that is worth the respect of the punks and the contempt of jazz purists. Berrocal is certainly the only French cousin of New York's no wave. 200 gram vinyl; numbered and limited edition of 99 copies.
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ROTOR 071LP
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Rotorelief present a reissue of Jac Berrocal's Musiq Musik, originally released in 1973. First album of Berrocal, recorded in 1973 with excessive reverberations of the crypt of the church Saint-Savinien in Sens, is a real notebook of sound travels, of instruments reported by Jac Berrocal and Roger Ferlet during their numerous journeys: Pakistan, Afghanistan, Nepal, India, Jordan, Iraq, Syria; with various instruments: bells, muezzins, conches, shenaïs, cymbals, gongs, embellished with urban and incongruous sounds: horns, whistles, chickens, harmonium, and washing machine, the all installed on a kiosk. The idea? Make music together, Jac Berrocal, Roger Ferlet, Dominique Coster. 200 gram vinyl; numbered and limited edition of 99 copies.
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ROTOR 073PUR-LP
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LP version. Purple vinyl. 200 gram vinyl; numbered and limited edition of 99 copies. Rotorelief present a reissue of Jac Berrocal's Catalogue, originally released in 1980. Jac Berrocal and his "marquises of disorder" make the guitars rattle in primrose-sprayed vomit, patchwork of uncontrollable slows, furious accordion (Claude Parle) and martial rocks. Kind of "micro-cinemas put end-to-end", a maelstrom of cries and saturation which, paradoxically, an album that is worth the respect of the punks and the contempt of jazz purists. Berrocal is certainly the only French cousin of New York's no wave.
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ROTOR 071IVO-LP
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LP version. Ivory vinyl. 200 gram vinyl; numbered and limited edition of 99 copies. Rotorelief present a reissue of Jac Berrocal's Musiq Musik, originally released in 1973. First album of Berrocal, recorded in 1973 with excessive reverberations of the crypt of the church Saint-Savinien in Sens, is a real notebook of sound travels, of instruments reported by Jac Berrocal and Roger Ferlet during their numerous journeys: Pakistan, Afghanistan, Nepal, India, Jordan, Iraq, Syria; with various instruments: bells, muezzins, conches, shenaïs, cymbals, gongs, embellished with urban and incongruous sounds: horns, whistles, chickens, harmonium, and washing machine, the all installed on a kiosk. The idea? Make music together, Jac Berrocal, Roger Ferlet, Dominique Coster.
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ROTOR 072LP
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Rotorelief present a reissue of Jac Berrocal's Paralleles, originally released in 1976. Paralleles 1976, Vince Taylor, the Black Archangel of rock n' roll, agrees to come and record "Rock'n Roll Station", a piece of futuristic clinking of a bicycle wheel. Other sessions contrary to custom, a pigsty with microphones mired in the middle of unruly pigs, towels shaken by Pierre Bastien in the middle of this "bric-a-brac" a noisy piece in homage to Luigi Russolo repertoire reorganized by bonuses and unpublished from the same period. 200 gram vinyl; numbered and limited edition of 99 copies.
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AKU 1026LP
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Jac Berrocal is a 1946-born musician (trumpet player), poet and sometime film actor who came of age in the '70s Paris improv scene, where the boundaries between music, art and theater were porous and begging to be breached. Inspired by bebop, chanson, free jazz, beat poetry, early rock 'n roll and myriad Eastern influences, and with an iconoclastic, anything-goes approach to instrumentation and technique that would later align him with post-punk sensibilities, Berrocal blazed an eccentric and unstoppable trail across the underground throughout the '70s and '80s, both solo and as part of the Catalogue group he co-founded. During this time his uproarious performances routinely wound-up jazz and rock audiences alike, but earned the admiration of many musicians: Steven Stapleton invited him to perform on two Nurse With Wound albums, and other notable collaborators in his career include Sunny Murray, Lizzy Mercier-Descloux, Lol Coxhill, Yvette Horner, and James Chance. In the '90s his protean achievements were celebrated on the Fatal Encounters compilation, but far from slowing down in the autumn of his life, Berrocal has maintained an extraordinary work-rate, keeping studio dates with Pascal Comelade, Telectu, and Jaki Liebezeit, among others. Now, Berrocal has found the perfect foil in David Fenech and Vincent Epplay, two fearlessly inventive improvisers, composers and catalysts who create challenging, acutely modernist yet historically aware settings -- wrought out of synthesis, guitars, computer processing, field recordings and unorthodox percussions -- for Berrocal's unmistakeable voice and breathtakingly lyrical horn sound to flourish. Fenech cut his teeth in the mail-art scene of the early '90s, leading the Peu Importe collective in Grenoble. His 2000 solo debut was recently reissued by Felix Kubin's Gagarin label, and he has also worked as a software developer at IRCAM, and played with Jad Fair, Tom Cora, Rhys Chatham, and James Plotkin; in 2011 he formed a trio with Berrocal and Ghedalia Tazartes for the Superdisque LP. Epplay is a highly regarded sonic and visual artist with a particular interest in aleatory composition and autonomous pieces, concrète, and the puckish reappropriation of vintage sound and film material, with dozens of published works to his name on labels like Planam/Alga Marghen and PPT/Stembogen. Exterior Lux is the third part in the series of albums and was again mastered by the legendary Noel Summerville.
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LP
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MEGA 037LP
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LP version. Edition of 300. Jac Berrocal and David Fenech have been recording music together for more than ten years now... After albums with Ghédalia Tazartès (RIP) and Vincent Epplay, they shared the stage with musicians such as Felix Kubin, Jean-Hervé Peron, Jean Noel Cognard, and Thierry Müller (Illitch)... Now they are now joined by the American improviser Jason Willett (Half Japanese) for their first album as a trio. Built around a recording session in Paris, the three musicians created Xmas In March, an album of seven new peppermint-striped favorites. The tracks are like smoldering embers, mixed with the excitement and anticipation of Santa's arrival. Jac Berrocal's sound has never been so smooth since the Hotel Hotel album -- his trumpet like a sleigh in a jet stream. Willett plays bass with a rubber band and creates an impossibly huge sound from such a tiny "instrument" (like Charlie Haden played from a matchbox). He also plays this rare wooden synthesizer called Cocoquantus. Fenech sings, plays electric guitar, turntables, and is responsible for the recording as well as mixing all the tracks. With special guest Vincent Epplay on the closing track. This is the album you will want under the tree... skirt. Joyeux Noël! Cut by Andreas "Lupo" Lubich.
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CD
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MEGA 037CD
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Jac Berrocal and David Fenech have been recording music together for more than ten years now... After albums with Ghédalia Tazartès (RIP) and Vincent Epplay, they shared the stage with musicians such as Felix Kubin, Jean-Hervé Peron, Jean Noel Cognard, and Thierry Müller (Illitch)... Now they are now joined by the American improviser Jason Willett (Half Japanese) for their first album as a trio. Built around a recording session in Paris, the three musicians created Xmas In March, an album of seven new peppermint-striped favorites. The tracks are like smoldering embers, mixed with the excitement and anticipation of Santa's arrival. Jac Berrocal's sound has never been so smooth since the Hotel Hotel album -- his trumpet like a sleigh in a jet stream. Willett plays bass with a rubber band and creates an impossibly huge sound from such a tiny "instrument" (like Charlie Haden played from a matchbox). He also plays this rare wooden synthesizer called Cocoquantus. Fenech sings, plays electric guitar, turntables, and is responsible for the recording as well as mixing all the tracks. With special guest Vincent Epplay on the closing track. This is the album you will want under the tree... skirt. Joyeux Noël! Cut by Andreas "Lupo" Lubich. LP version comes in edition of 300.
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GG 326CD
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"Jac Berrocal is a 1946-born musician, poet and film actor who came of age in the '70s Paris improv scene, where the boundaries between music, art and theatre were porous and begging to be breached. Inspired by bebop, chanson, free jazz, beat poetry, early rock 'n roll and myriad Eastern influences, and with an iconoclastic, anything-goes approach to instrumentation and technique that would later align him with post-punk sensibilities, Berrocal blazed an eccentric and unstoppable trail across the underground throughout the '70s and '80s, both solo and as part of the Catalogue group he co-founded. During this time his uproarious performances routinely wound up jazz and rock audiences alike, but earned the admiration of many musicians: Steven Stapleton invited him to perform on two Nurse With Wound albums, and other notable collaborators in his career include Sunny Murray, Lol Coxhill and James Chance. Now Berrocal has found the perfect foil in David Fenech and Vincent Epplay, two fearlessly inventive improvisers, composers and catalysts who create challenging, acutely modernist yet historically aware settings -- wrought out of synthesis, guitars, computer processing, field recordings and unorthodox percussions. Fenech cut his teeth in the mail-art scene of the early '90s, leading the Peu Importe collective in Grenoble. Epplay is a highly regarded sonic and visual artist with a particular interest in aleatory composition and autonomous pieces, concrète. Ice exposure is the sequel and companion piece to 2015's Antigravity, its title couldn't be more apt: sonically it is both colder, and more exposed -- in the sense of rawer, more volatile, more vulnerable -- than its predecessor, capturing the combustible energy and barely suppressed violence of the trio's celebrated live performances with aspects of noir jazz, musique concrète, no wave art-rock, sound poetry and spectral electronics all interpenetrating in unpredictable and exhilarating ways."
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3LP BOX
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ROTOR 071-73LP
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This luxurious pink Cadillac color box set, 1973-1976-1979, brings together the first three albums of Jac Berrocal -- Musiq Musik (1973), Paralleles (1976), and Catalogue (1979) -- in which countless personalities of the crossover music of the hexagon participate. Musiq Musik (1973): Berrocal's first album, recorded in 1973 with the excessive reverberations of the crypt of the church Saint-Savinien in Sens, is a real notebook of sound travels, of instruments reported by Jac Berrocal and Roger Ferlet during their numerous journeys: Pakistan, Afghanistan, Nepal, India, Jordan, Iraq, Syria, including various instruments such as bells, muezzins, conches, shenaïs, cymbals, and gongs embellished with urban and incongruous sounds: horns, whistles, chickens, harmonium, and washing machine. The idea? Make music together, Jac Berrocal, Roger Ferlet, Dominique Coster. Paralleles (1976): Vince Taylor, the Black Archangel of rock n' roll, agrees to come and record "Rock n' Roll Station", a piece of futuristic clinking of a bicycle wheel. Other sessions contrary to custom, a pigsty with microphones mired in the middle of unruly pigs, towels shaken by Pierre Bastien in the middle of this is a noisy piece "Bric-à-Brac" made in homage to Luigi Russolo's repertoire reorganized by bonuses and unpublished from the same period. Catalogue (1979): Jac Berrocal and his "Marquises of Disorder" make the guitars rattle in primrose-sprayed vomit, patchwork of uncontrollable slows, furious accordion (Claude Parle) and martial rocks. Kind of "Micro-cinemas put end-to-end", a maelstrom of cries and saturation which, paradoxically, an album that is worth the respect of the punks and the contempt of jazz purists. Berrocal is certainly the only French cousin of New York's no wave. Deluxe, rigid box set with three metallic covers and an impressive booklet of photos and unpublished documents; 200 gram vinyl.
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LP
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BLACKEST 071LP
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Jac Berrocal, David Fenech, and Vincent Epplay return with Ice Exposure, their second album for Blackest Ever Black. A sequel and companion piece of sorts to 2015's Antigravity (BLACKEST 011CD/LP), its title couldn't be more apt: sonically it is both colder, and more exposed -- in the sense of rawer, more volatile, more vulnerable -- than its predecessor, capturing the combustible energy and barely suppressed violence of the trio's celebrated live performances with aspects of noir jazz, musique concrète, no wave art-rock, sound poetry, and spectral electronics all interpenetrating in unpredictable and exhilarating ways. While there are moments of great sensitivity and even a cautious romanticism, the prevailing mood is one of anxiety, paranoia, and mounting psychodrama: close your eyes and Ice Exposure feels like a dissociative Hörspiel broadcasting from the seedy backstreets of your own troubled mind. Before he picks up an instrument or opens his mouth, Berrocal's unique and compelling presence can be felt: a combination of studied, glacial cool and anarchic, in-the-moment intensity that has served him well over a long and storied career. Now in his eighth decade, it comes with an added gravitas, perhaps, but no less energy or vitality. On Ice Exposure, his lyrical, instantly recognizable trumpet playing is a key feature -- see especially the ghostly, dub-wise take on Ornette's "Lonely Woman", the dissolute exotica of "Salta Girls", and the sublime echo-chamber soliloquy "Opportunity". But more often it's his voice that commands center-stage, whether casually discharging surreal poetic monologues or moaning in animal despair -- a vocal tour de force that transcends language and culminates in the Dionysian frenzy of "Why", Berrocal's half-spoken, half-howled exclamations jostling with David Fenech's slashes of dissonant guitar, over Badalamenti-ish, panther-stalk drums. Fenech and Epplay are responsible for Ice Exposure's inspired arrangements and vivid, vertiginous sound design. He and Fenech fashion a remarkable mise-en-scene for Berrocal to inhabit, one that embraces cutting-edge electronics while also paying homage to the best traditions of outlaw jazz and libidinous rock n' roll. On "Blanche de Blanc", Berrocal's voice is framed by a groaning, ghoulish orchestra of industrial drones, while "Equivoque" evokes the most humid and hostile Fourth World landscapes and "Panic In Surabaya" lives up to its name, a hectic, pulse-quickening concrète collage that leaves you gasping for air. Ice Exposure is a triumph of a group mind, an underworld dérive as life-affirming as it is unnerving and psychologically precarious.
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FFL 028LP
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Souffle Continu Records present the first vinyl edition of Jac Berrocal's La Nuit Est Au Courant, originally released on In Situ in 1991. Ornette Coleman's "Lonely Woman" on the radio, Renaissance motets, his grandfather in a Zouave military band, Syrian deserts... Columns of tanks in the streets, the soundtrack to Robert Bresson's A Man Escaped (1956), Juan Manuel Fangio's car, the fall of the Berlin wall: from the first and fantastic Musiq Musik (1973), this is where Jac Berrocal's trumpet comes from -- an indescribable cataclysm to which he constantly returns for inspiration. When he published, at the beginning of the 1990s, La Nuit Est Au Courant, Jac Berrocal had already recorded his famous "Rock'n'Roll Station" and collaborated three times with Nurse With Wound, he figures on their 1979 list as an important avant-garde influence. In Situ, the French label which published this album, produced several other historically important albums in the same year by people like Steve Lacy, François Tusques, Un Drame Musical Instantané, and Daunik Lazro in a duo with Joe McPhee: such were the times. Backed by two bassists (including the jazz critic Francis Marmande) and a drummer, Jacques Thollot (who recorded Jeter La Girafe À La Mer (1971), one of the highlights of the French underground), Jac Berrocal does here what he does best: defy labels and slalom between genres; constructing a strange kaleidoscope of enchanting mish-mash. "What is vulgar... ", he states, "... is to refuse what pleases you". Jac Berrocal refuses nothing and tries everything he can imagine. With the trumpet multiplied here and there by reverb, the nocturnal perambulations for insomniacs of La Nuit Au Courant make it an ambient album with Prague, Sartrouville, Ivry-sur-Seine or East Berlin amongst the backdrops... An album of what Fernando Arrabal called "panic music", an elegant term for "no wave"... Listening to it over and again, it sounds like Don Cherry jamming with David Bowie and Brian Eno in Berlin. There is one thing you should know: Jac Berrocal is an intrepid man. He stands exposed -- and "sullies his soul", on the edge of the precipice. The nights are all-knowing. Licensed from In Situ. Obi strip; Reverse printing; Includes four-page booklet; Edition of 700.
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7"
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BLACKEST 062EP
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Jac Berrocal, David Fenech, and Vincent Epplay return with their first record since 2015's Antigravity (BLACKEST 011CD/LP). The title track is a louche but volatile art-rock panther-stalk... a cracked jazz ode on street hassle, pitched somewhere between Vince Taylor-in-exile and PiL's Metal Box (1979)... Berrocal on vocals, a slurring stream-of-consciousness that becomes a yowl of despair; drums loose and dub-delayed; Fenech's jagged guitar phrasing, and Epplay's electronics set to flay. "Ice Exposure" situates Bef's mournful, muted trumpet in the eerie deep-freeze ambience that characterized Antigravity, and "Alienor En Aout" coaxes a gloomy poetry from affectless cold war radio broadcasts. Last copies...
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7"
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ROTOR 003EP
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Clear and white 7". Mythical trumpeter and poet Jac Berrocal, his associate Jack Belsen (soundtrack composer, cofounder of Messageros Killers Boys with F.J. Ossang), and iconic singer and actress Marie France -- a cabaret muse fond of unpredictable and stunning collaborations, put the words of Marie Antoinette, Queen of France from 1774-1791, to music. "Je vous veux" is a cosmic, sensual ballad, a perfect compromise between the lascivious, velvety words of Marie France, Belsen's powerful, solemn machines, and Berrocal's flute. "Marie-Antoinette is not dead ou dans quelle position je vous laisse" plunges into the dead of night, when Marie Antoinette writes her last letter.
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LP
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BLACKEST 011LP
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LP version. Includes MP3/FLAC download code. Legendary trumpeter Jac Berrocal joins two fellow travelers in the French avant-garde, David Fenech and Vincent Epplay. A lugubrious mise-en-scène in which ice-cold outlaw jazz meets musique concrète, DIY whimsy, and dubwise studio science, all watched over by the lost souls and hungry ghosts of rock 'n' roll. The trio's first album together, Antigravity is a richly imagined universe combining original compositions and détourned standards. Berrocal revisits his own signature piece "Rock 'n Roll Station," which first appeared on his '77 LP Parallèles (TES 037CD) with chain-wielding, leather-clad wildman of British rock 'n roll Vince Taylor singing the lead, and Berrocal on mic'd up bicycle; here, the Frenchman takes the vocal reins. A barely recognizable interpretation of Talking Heads' "The Overload" pushes beyond the bush of ghosts into a fourth world dread-zone of stalking drum-machine rhythms, humid electronics, and jagged guitar phrasing, while "Where Flamingos Fly" reroutes the Gil Evans Orchestra's classic rendition through the seamiest back-streets of the 13th arrondissement; there, as on the trio's reading of "Kinder Lieder," the mood is romantic, but stark, isolationist: imagine Chet Baker falling through the glacial sound-world of early PiL or Scott Walker's Climate of Hunter. Originals include the agitated Iberian psychedelia of "Spain," and "Panic in Bali," which begins in seemingly trad-jazz fashion only to swell into a cacophony of a gurgling electronics and fevered "Lonely Woman" quotations. "Solaris" is a swirling, suspenseful arabesque of whiplash guitars and Black Ark FX, Berrocal's trumpet hitting deep blue notes while his vocals are sliced and diced and tossed into a yawning void of tape-delay -- like Antigravity at large, the result is oblique, dissolving, forever out of reach. Despite the chilly, sometimes austere mood of the album, it is, ultimately, a deeply human and welcoming work, with a playfulness and sly humor pervading; see the anarchic cross-hatch of "Ife Layo," or the CD-only track "L'essai des Suintes ou le bal des Futaies," Berrocal's poetic disquisition on the infinite variety of female genitalia. Mischief and misdirection are rife here, and fans of Officer!, Henry Cow, and the ReR axis will find much to chew on. Play, as we know, is serious business. Put another way, and to quote Berrocal entirely out of context, Antigravity is completely crazy, completely timeless, completely out. As its title suggests, the objective is nothing less than lift-off, weightlessness, a total unshackling from earth. Sunglasses on, collar up, let's go.
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BLACKEST 011CD
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Legendary trumpeter Jac Berrocal joins two fellow travelers in the French avant-garde, David Fenech and Vincent Epplay. A lugubrious mise-en-scène in which ice-cold outlaw jazz meets musique concrète, DIY whimsy, and dubwise studio science, all watched over by the lost souls and hungry ghosts of rock 'n' roll. The trio's first album together, Antigravity is a richly imagined universe combining original compositions and détourned standards. Berrocal revisits his own signature piece "Rock 'n Roll Station," which first appeared on his '77 LP Parallèles (TES 037CD) with chain-wielding, leather-clad wildman of British rock 'n roll Vince Taylor singing the lead, and Berrocal on mic'd up bicycle; here, the Frenchman takes the vocal reins. A barely recognizable interpretation of Talking Heads' "The Overload" pushes beyond the bush of ghosts into a fourth world dread-zone of stalking drum-machine rhythms, humid electronics, and jagged guitar phrasing, while "Where Flamingos Fly" reroutes the Gil Evans Orchestra's classic rendition through the seamiest back-streets of the 13th arrondissement; there, as on the trio's reading of "Kinder Lieder," the mood is romantic, but stark, isolationist: imagine Chet Baker falling through the glacial sound-world of early PiL or Scott Walker's Climate of Hunter. Originals include the agitated Iberian psychedelia of "Spain," and "Panic in Bali," which begins in seemingly trad-jazz fashion only to swell into a cacophony of a gurgling electronics and fevered "Lonely Woman" quotations. "Solaris" is a swirling, suspenseful arabesque of whiplash guitars and Black Ark FX, Berrocal's trumpet hitting deep blue notes while his vocals are sliced and diced and tossed into a yawning void of tape-delay -- like Antigravity at large, the result is oblique, dissolving, forever out of reach. Despite the chilly, sometimes austere mood of the album, it is, ultimately, a deeply human and welcoming work, with a playfulness and sly humor pervading; see the anarchic cross-hatch of "Ife Layo," or the CD-only track "L'essai des Suintes ou le bal des Futaies," Berrocal's poetic disquisition on the infinite variety of female genitalia. Mischief and misdirection are rife here, and fans of Officer!, Henry Cow, and the ReR axis will find much to chew on. Play, as we know, is serious business. Put another way, and to quote Berrocal entirely out of context, Antigravity is completely crazy, completely timeless, completely out. As its title suggests, the objective is nothing less than lift-off, weightlessness, a total unshackling from earth. Sunglasses on, collar up, let's go.
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10" PIC DISC
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ALGA 018LP
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2004 release. Alga Marghen is currently working on the CD edition of Jac Berrocal's Catalogue, which will include the original LP material as well as several new and historical recordings. The true Catalog of Berrocal! It was decided to produce a 10" picture disc with some precious tracks that for one reason or another will not appear on the CD. "L'union Libre," a famous poem by the surrealist master André Breton, here in a multiple-superimposition version of the wonderful voice of Jacques Doyen and the music by Jac Berrocal recorded in 1985; "Priere," text by Antonin Artaud spoken by Berrocal himself, including excerpts from "Voyage au bord de la ville," a very abstract and dissonant track with music by Berrocal, Gilbert Artman and Jack Belsen, recorded in Paris, 2003; "A Satanic Prayer," an almost ritual-dub recording created in Warszawa, Poland, in 2002; and the catchy "1555," a classic piece by Berrocal featuring very pure trumpet solos with a background collage of distant, heavily-treated and distorted sounds. Private edition of 250 copies only.
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CD
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SR 345CD
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Jac Berrocal has not released an album for 20 years. The legendary French trumpeter is back with his special atmosphere and feeling and lots of guests, too. Jacques "Jac" Berrocal (born October 22, 1946, Saint-Jean d'Angély) is a French trumpeter, singer and composer. He has been active since the 1970s in the independent and avant-garde music scene (he recorded/played with Steven Stapleton/Nurse With Wound and collaborated with Sunny Murray, Pascal Comelade, MKB (F. J. Ossang), James Chance, Alan Shorter, Bernard Vitet, Lol Coxhill, Michel Portal, Lizzy Mercier Descloux). He has released a few important albums, mainly on his own label d'Avantage. He also founded and performed in the group Catalogue. Berrocal has also appeared in several films. In 2011, Sub Rosa released a unique collaboration between him, Ghedalia Tazartès and David Fenech (SR 321CD/LP).
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LP
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SR 345LP
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LP version. Jac Berrocal has not released an album for 20 years. The legendary French trumpeter is back with his special atmosphere and feeling and lots of guests, too. Jacques "Jac" Berrocal (born October 22, 1946, Saint-Jean d'Angély) is a French trumpeter, singer and composer. He has been active since the 1970s in the independent and avant-garde music scene (he recorded/played with Steven Stapleton/Nurse With Wound and collaborated with Sunny Murray, Pascal Comelade, MKB (F. J. Ossang), James Chance, Alan Shorter, Bernard Vitet, Lol Coxhill, Michel Portal, Lizzy Mercier Descloux). He has released a few important albums, mainly on his own label d'Avantage. He also founded and performed in the group Catalogue. Berrocal has also appeared in several films. In 2011, Sub Rosa released a unique collaboration between him, Ghedalia Tazartès and David Fenech (SR 321CD/LP).
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CD
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TES 058CD
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2005 reissue. Released in 1979 in a limited edition on his own d'Avantage label, Catalogue, with its overt theatricality is every bit as wild as the previous Paralleles. Not really jazz, not rock, having nothing to do with contemporary music either, Catalogue is a kind of sonic postcard which features not the group of the same name but instead numerous Jacques Berrocal associates including Potage (co-founder of the d'Avantage label in 1976), Parle, Ferlet, Pauvros and recording engineer Daniel Deshays, plus many musicians from the French underground collective scene of the 1970s. Not content with manhandling a toy piano on "Tango" (which features mind-blowing accordion from Parle), abusing an arsenal of instruments including saw blades, pistols, shower attachment and even gingerbread, Berrocal pushes his own voice way over the edge on "Incontrolablslaooo" and "Faits Divers," moving from a 60-a-day smoker's cough to a terrifying sequence of gargles and vomits. The grungy free rock of "No More Dirty Bla Blaps," the Portsmouth Sinfonia-like spoof Dixieland of "Rideau," the distressing punk of "Signe Particulier" and all manner of field recordings and cut-ups in Berrocal's Artaudian theater style, combining the excesses of glam and punk cold-wave with a post-1968 Situationist perspective. With the same creative attitude documented through the mythic d'Avantage label (1976-1979), Berrocal later accumulated an extensive archive of unreleased recordings, some of which finally surface now on this new edition. Catalogue represents the most experimental and complex of Berrocal's records, as historical as contemporary modern, classic, and at the same time as fresh and strange as if it had been recorded last week. During the same year Steven Stapleton frequently travelled to Paris to meet Jacques Berrocal to discuss a possible collaboration. In 1980, Berrocal travelled to London with his pocket trumpet and Tibetan oboe and recorded with Stapleton, Heman Patakand John Fothergill on NWW's second album, but that's another story.
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