As far as this author is concerned, the first two albums from the French group Moving Gelatine Plates are as superb as any albums ever recorded. So it was with great anxiety, trepidation and anticipation that I approached their brand new recording, some 34 years later (not counting 1980’s Moving project). Most reunion albums are disasters, perhaps pointing out that the band in question may have not ever understood why their previous works are held in high esteem. Occasionally a band will reform, like fellow countrymen Magma, and pick up right where they left off and wow audiences as they did in the past. With the original logo intact, and montage cover art, there were some propitious signs to hold out hope. When I heard the loud, aggressive and massively fuzzy bass to start the title track, I was certain that MGP did truly understand their place in history. But my excitement was quickly quelled with the brassy-patch digital keyboard that followed, suggesting this was going to be another modern instrumental rock album that has as much in common with smooth jazz as it does with old school prog (the obscure French 90s band Alambic comes to mind here). And, more or less, that’s about right. “Removing” is much more rock based than the jazzy Canterbury inspired group of yore. The drumming is very straight forward and there’s none of the quirky charm from before. As a plus, the fuzz bass continues throughout, the guitar playing is generally excellent and the violin is a very welcome addition. With one exception, “Removing” is split between two styles: 1) Harder rocking tracks and 2) Light rock-jazz instrumentals with soprano sax in the lead. Both styles feature some sparse, unobtrusive vocals. Songs such as ‘Like a Flower’, ‘Comme Avant’, ‘Nico’ and closer ‘Theo’ represent the former while ‘Enigme’, ‘Bellidor’ and ‘Waiting For the Rain’ are of the latter. The one track that moves the ball forward in a positive way is ‘Breakdown’, which represents both something new (for MGP), challenging and satisfying, with a slight nod to past glories. So a mixed bag, that neither completely disappoints or rewards. It’s a relevant release and, for reunion albums, comes in maybe a notch below Trettioariga Kriget’s “Elden Av Ar”. It does take awhile for a group to gel and regain that old magic (even for a band like Magma this was the case), so hopefully they’ll hold it together a bit longer and create some brilliance as they once had done.
Moving Gelatine Plates - "The World Of Genius Hans" (Musea FGBG 4101.AR, 1972/1994, CD)
MGP was an early French underground band that eschewed the tendency of other bands of that period in France to propogate a left-wing political message. By contrast, MGP's lyrics (in English) were intentfully benign and sometimes silly, that is - if they used lyrics at all. A full half of the songs on this, their second album, are completely instrumental, and those that are not have a clear instrumental focus.
The band was the four-piece of Gerard Pons (drums), Didier Thibault (bass), Gerard Bertram (guitars and vocals) and Maurice Helmlinger (trumpet, saxes, flute and hammond organ); in addition, guests contribute trombone, bassoon, vibes and backing vocals. Their music was a powerful jazz-rock with a strong improvisational quality, yet all was tightly arranged and played fluently. Because of Thibault's fuzz-bass and Helminler's smooth alto and tenor sax delivery - as well as the overall feel of their sound, one might be reminded of Soft Machine around their second or third album, yet MGPs tunes are more pure and playful, from a strictly compositional standpoint. Another point of reference might be early pre-zeuhl Magma, maybe circa 1001 Centigrades as well as The Muffins (this was still a few years before the Muffins formed, but the comparison still holds true.) Their command of melodics is solid, yet the tunes take a few listens to sink in, mostly due to the band's not indulging in the endless use of hooks and repeats. Signature and tempo can change at any time unexpectedly, as the instrumental "Astromonster" capably illustrates. The vocals on "Funny Doll" give that song an almost Blood, Sweat & Tears-in-high-gear feel. The fourteen minute title track delivers some of the sweetest yet energetic sax soloing on the entire disc. The five bonus tracks Musea included were from the 1980 album by Moving, a band formed by Didier Thibault many years later in an attempt to re-create the MGP sound (other tracks from Moving's album are on the first MGP reissue). Unfortunately, these bonus tracks hardly live up to the quality of Genius Hans, yet if taken on their own are still quite good. In all, this is a most welcome reissue. In closing I should at least mention the cow's head decorated with parsley and cigar that graces the front cover (was this France's answer to Blodwyn Pig's "Ahead Rings Out" ?). (Originally published in Exposé # 4, p. 25, Edited for Gnosis 5/20/01)Moving Gelatine Plates are a French band who released two albums in the early 70's. Musical reference points would be Soft Machine, Frank Zappa, the German band Brainstorm, Gong and maybe early Supersister. Their music is mostly instrumental with few, but rather pleasant vocals. Emphasis is on the inventive and busy interplay among guitar, bass, drums, organ, various saxophones and occasionally flute. There is an endless stream of ideas where the continuous interplay is favoured above long solo sections for one lead instrument. There are many beautiful themes with incredible arrangements for brass instruments, some fantastic drumming and great guitar playing (with a psychy edge). Although differences between both albums are minimal, I prefer "The World of Genius Hans" slightly above their first as it seems a bit more mature and balanced than their first album. Nevertheless, both albums are brilliant and among the best progressive rock has to offer. Essential listening!
