Moving Gelatine Plates - Removing. 2006 France

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. It is, in fact, their raison d'être. As such, I'm separating this newer album from their two classic 1970s works.

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. (sigh... it does not appear that transpired).

Ownership: CD: 2006 Musea

10/17/06; 9/15/17 (new entry)

Moving Gelatine Plates. 1970-1979 France (archival)

I had secretly hoped that Moving Gelatine Plates would have archival material sitting in the vaults somewhere. And now we have proof that such a thing exists. Side 1 features recordings from a concert in 1972. 'The World of Genius Hans', 'Astromonster', and 'London Cab' are presented here with fascinating alternate versions of the originals - not surprising given the jazzy disposition of the band in general. This particular concert is after the 1971 studio recording of Genius Hans and features new drummer Alain Clarel. Naturally enough 'London Cab' is the most different of the three, since it's from the debut album. Side 2 contains material from two different settings in 1978 and 1979, when they were officially known as Moving. The first track is called 'Galantine', which is wordplay for 'Gelatine', and it is indeed an excellent rendition of the debut album composition. The shorter 'Syntheme' follows, and is one of the better tracks from their 1981 album. Though in rawer form, which is more pleasant to my ears anyway. Both of these tracks were from a 1978 concert. The 13+ minute 'Like a Flower' is a 1979 home recording of an older track going back to 1970, but never recorded in studio form until the reformation "Removing" album (2006). All 6 tracks are of "bootleg standard" quality. There is quite a bit of loss in these tapes - but the music is definitely recognizable, and at times, revelatory. And certainly enjoyable.

In addition to the album proper, there is a 1970 single that is known to be their first ever recordings. And it is an entirely frustrating experience. The first side is 'London Cab' - an excellent 6+ minute rendition and perhaps the highlight of the entire album. And it's in 33 RPM, which I figured they did on purpose knowing us folks with real turntables have to physically alter the mechanics (no easy switch, that is to say) to obtain 45 RPM. But alas, side 2's 'X25' is indeed just that: 45 RPM. And at only 2 minutes, it takes longer to move things around than it does to hear it. Honestly, I wouldn't bother as it's not much different than the original anyway. To complicate matters, the liner notes have these tracks confused with each other. I assure you, the longer track is 'London Cab' (though not labeled on the disc itself).

Personally, I think all 8 of these tracks would have been better served as CD (or LP) bonus material to the original albums, but Monster Melodies is to be commended for giving the buyer good value for their money considering the entire package.

You can read more about this release (in French) here

Ownership: LP: 2014 Monster Melodies

What you see in the photo is what you can expect to receive on this fine archival release from one of Paris' more famous record stores (and one I've personally been to): Monster Melodies. It's an expensive package, but for diehard fans like me, it would have to be considered an essential purchase (if you still have a turntable that is). So what do you get for your money? The cover is a thick glossy gatefold, and the inside is filled with vintage newspaper articles (all in French). The back of the cover has detailed liner notes of the recordings in English. The vinyl is heavy duty, and pressed in appropriate Genius Hans Pink (perhaps Sherwin-Williams should offer this?). The inserts include an informative band family tree from 1966 to the present, with biographical information (again all in French) on the other side on thick textured paper. As well, a band logo post card with an archival photo is included. As you can see, there is also a single disc that contains their original first recordings. Overall a superb document.

1/24/15 (new entry)

Moving Gelatine Plates - The World of Genius Hans. 1972 France

Everything I love about the debut is magnified and enhanced on their second and final 70s album. They cut the excess (lengthy solos, including the worthless drum bit) while increasing the complexity, the instrumentation, as well as the melodic content. Regarding the latter, an incredible 450 themes were incorporated into these compositions. The end result is nothing short of astounding. I often read reviews where the opening 14 minute title track is mind blowing, and the remainder trails off. I agree with the assessment of the first track. However the album actually improves from there. The shorter tracks allow even more ideas per second to flow through. In fact, I'd say the two best tracks are the ones they chose for a single ('Funny Doll', 'Cauchemar') which I've included in the images above. MGP can do no wrong it seems. Overall, I find the album highly memorable long after the music has stopped. Considering the complexity, that's an extraordinary accomplishment. Most of these complex instrumental albums, especially in modern times, are cold and clinical. Moving Gelatine Plates proves that does not have to be the case, and should be held up as a role model for future generations.

Most everyone has a favorite album. This is mine. A perfect 100 out of a 100.

Depending on my mood, I could also say the cover is my all-time favorite. It's completely captivating, and appeals to my sense of humor.

Ownership: LP: 1972 CBS. Single sleeve. Online acquisition from a dealer in France (1999).

CD: 1993 Musea. Jewel case. Includes a full history. As bonus tracks they complete the Moving (1980) album that they started on the first album. 

1994 (first listen); 1/24/13 (review/new entry)

Moving Gelatine Plates. 1971 France

I suppose it was inevitable that I would eventually blog about my all-time favorite group from the 1970s. I know that's a strange thing to say for a band that only managed two albums in a two year period. However, Moving Gelatine Plates has the perfect recipe for my aural appetite. They feature the rare combination of being both memorably melodic and academically complex. They are affable, fun, and approachable. They were all about music and not about leftist politics (hard to find bands like that in the early 1970s French political landscape). The sounds they chose were thick, fat and wedgy - fuzz bass, loud acid guitar, trumpet, sax and flute. And perhaps best of all: They rocked like a motherf*cker. The opening track 'London Cab' is absolutely perfect, and a great example of MGP's overall sound. The only weakness found on the album is the overlong drum solo on 'Last Song', that I'm sure the band would agree on reflection, is completely unnecessary. There is no doubt that they were influenced by the Canterbury bands of Soft Machine and Caravan. But Moving Gelatine Plates takes the concepts of melody, composition, and rock energy to its logical extreme. They are Canterbury extract, in the same way that Presents From Nancy era Supersister were - but MGP was even more fleshed out considering the expanded instrumental lineup. All the good stuff stayed in, while the waste was filtered out. And to think they actually improved on their next album!

Ownership: LP: 1971 CBS. Single sleeve. Online acquisition from a dealer in Norway (1998). 

CD: 1992 Musea. Purchased not long after release and was my introduction to the album and group. As usual Musea closes the door on all potential competition with a high quality release, complete with detailed liners and photos. As a bonus, they provide half of the Moving album from 1980 (to be completed on the second MGP reissue).

1993; 1998; 1/21/13 (new entry)