Cos - Postaeolian Train Robbery (1974)
1990, Musea Records FGBG 4028.AR
1. Postaeolian Train Robbery (4:13)
2. Cocalnut (7:20)
3. Amafam (8:24)
4. Populi (3:30)
5. Halucal (3:50)
6. Coloc (9:47)
Bonus Tracks:
7. La partie déchecs (2:42)
8. Sur deux (4:32)
9. Achille (10:05)
10. L'admirable amas cellulaire orangé (2:13)
Total: 56:36
Pascale Son - vocals, oboe
Daniel Schell - guitars, flute, sound effects
Charles Loos - keyboards (tracks 1-6), piano (track 7)
Alain Goutier - bass (tracks 1-6)
Jean Paul Musette - bass (tracks 7-10)
Steve Leduc - drums, percussion (tracks 1-6)
Jean-Luc Van Lommel - drums (track 7)
Jean-Pierre Destrée - vibraphone (tracks 8-10)
Robert Pernet - drums (tracks 8-10)
Review #1:
Cos were one of the most popular Belgian progressive bands of the early/mid
1970's. They had a very pleasant, breezy jazz/rock sound, somewhat informed
by the Canterbury sound, but definitely not slavish ala Supersister (don't
worry, I ain't knocking 'da Sister, who I love, but you gotta admit that
Present From Nancy sounds like Soft Machine Volume 2.1). Guitar, keyboards,
bass, drums, percussion and wonderfully charming vocals from Pascale Son.
This release includes never-before released tracks by the precursor band to
Cos, Classroom! Typically excellent and thorough Musea reissue from the
master tapes.
Review #2:
“Postaeolian Train Robbery” is a perfect blend of Zeuhl & Canterbury. There
has never been a better, more balanced marriage of both. The only other
symbiotic hybrid that would even come close in comparison would have to be
Etron Fou LeLoublan's "Les Sillons De La Terre," which is completely
different - that's an infusion of Gong and Henry Cow to my ears. The vocals
of Pascale Son not only complement the sensations evoked by the musical
backdrop, they begin to define the far-reaching directions across the
universe which Cos was to explore. Daniel Schell's amazing guitar discourse
is the perfect foil to her wordless wonder and ecstatic merriment. He
expounds accordingly with verbs and calculated sonic inter-textual
seasonings emanating from the strings. One can almost see the grimaces of
his face as he chatters aloud via the facility of plugging his instrument
directly into his soul. There is not one iota of excess present in his
playing, it is precise, concise, succinct, and ardently clear to make its
point. His phrasing is exactly that, a manner of discourse, listen and reach
for your 'air guitars.' Charles Loos tinkles all over the keyboards and
piano with glee, sharing a reckless abandon with Alain Goutier for a rhythm
section combination that thrusts itself upon the throne like a salubrious
king or redolent mob boss, excruciatingly untouchable. All in all, there has
nary been a finer moment in music as this stunning first jaunt from the band
that wins my heart and trophy for first place as the stellar musical royalty
of the cosmos.
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