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The long-awaited reissue of Serge Bringolf's Strave second album, following the reissue of his first last year.
“In 1981, as Serge Bringolf was attempting to put together a new line-up for Strave, he contacted Alain Eckert and his quartet's bassist, Alain Lecointe. A second bassist, Claude Boussard, was also brought in. The brass section was equally important, with Denis Petithory on trumpet and Bertrand Eck on French horn, both of whom already featured in the previous line-up, joined by Philippe Geiss on saxophone. Emmanuel Séjourné was enlisted to play the vibraphone, and Mano Kuhn returned to perform vocals. With the exception of one instrument (there is no violin), this nine-piece formation gave Strave the same colours as its earlier line-up.
Strave's second LP, named Vision, was recorded over four days at Omega Studio in July 1981 and released with a jet black cover. The new record contained five new Bringolf compositions that unsurprisingly follow on from those on the first double album. They differ, however, in having a more compact format. Although the first and last tracks are similar in length to those on Strave, the other three are significantly shorter. Despite being condensed, the music has lost none of its impact, however.
For example, the opening track, Vision, serves as a link with the previous album, delivering a microcosm of Strave's art with the same verve and exuberant colours, hinting at the soundscapes found on Magma's first double LP, or even – due to the scat singing – Zao's first record.
Plus I, on the other hand, which is played entirely by discordant brass, is reminiscent of the moods generated by early-period Art Zoyd.
It serves as an introduction to Plus II, which creates a climate instilled with martial rhythms more typical of zeuhl, giving prominence to the basses as well as Bringolf's ever more frenetic drumming.
Plus III is a pure distillate of Strave's incisive, turbulent sound, a real slap in the face for the listener!
Lastly, on Ma-Ho Peneta, Strave returns to its dense structures, with the saxophone having a freer dimension than usual in the second part. Could this foreshadow a shift in style? In any case, Vision ends on this note, having in many respects achieved what it set out to do, while reaching new musical heights in the process.” Stéphane Fougère – Traverses Magazine
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