Stand By (Heldon VII)

by Heldon

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ufoovernewforest I discovered Richard pinhas /heldon when I was 16,now I'm 56 I have always loved this band and always will
Big respect
🙂🙂🙂🙂🙂👍

HMz The moment I found out about this I was like "Yes! Yes yes yes yes yes!" Every ounce of this album has exactly what I want out of a Prog Rock album with Electronics, even the album cover.

Frederik Gonzalez Olsen From the hectic Berlin School sequencers and menacing vocoder chants of Bolero to the proto doom metal onslaught that is the final minutes of the title track, this is an amazing album. Apart from Une drôle de journée, which is a dizzying, effective excursion into Weidorje territory, this is monolithic electronic rock to burn planets to. Get it.

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	1.	Bolero 21:44
	2.	Une drôle de journée 04:00
	3.	Stand By 14:04

about

Buy the CD/Vinyl here:
shop.tapeterecords.com/new/heldon-stand-by-heldon-vii-preorder.html

Originally released in 1979.

Stand By was Heldon’s seventh and final album of the 1970s. Afterwards, Richard Pinhas focused on solo LPs before quitting music for around a decade. “It was the end of the tale,” he explains. “We decided to split for many reasons. The main one was that one or two of the other musicians wanted to stop. They were session musicians, mainly. At one point they said they didn’t have so much time to give. And it was a time when a lot of bands who had become reluctantly successful decided to split. It was a vision. It was stupid, but it was a vision. Split at the top, not waiting to go down.”

Heldon certainly went out on a high. Stand By’s mood remains urgent and gripping throughout, fashioned via immense synthesizer sounds, a plethora of interweaving drum patterns, spiralling guitar chops and lurching riffs. It’s been likened to krautrock, yet Pinhas never paid attention to the German scene. There are other similarities to parallel innovations that John Carpenter was making in the field of sci-fi/horror soundtracks. The hazmat-suit-wearing figure on Stand By’s cover could have starred in such a movie.

The LP’s unearthly vocals were provided by Klaus Blasquiz of Magma. “He was a real friend,” says Pinhas. “We had a blues band together. We played the clubs for two years, without making albums. Then he joined Magma in 1969. My cousin is Stella Vander from Magma, so Christian Vander was my cousin-in-law. A lot of musicians from Magma came to Heldon, and vice versa. We were two bands that everybody hated because of the music we played. We didn’t do rock ’n’ roll. We didn’t do blues. Still, after fifty years they only remember bands like Magma and very few others.”

Speaking in 2019, Pinhas sees only further global catastrophe around the corner. In the long run, this won’t necessarily be a bad thing. “Maybe humans can disappear and other species can come in,” he suggests. “It can be a new start for the planet, one without humans. Maybe plants instead? Your next interview, in two years’ time, will be with plants.”

Will these plants produce such wonderful music? We’ll have to wait and see. Stand by.