Pinhas, Richard

Richard Pinhas is a french musician, who is known through the projects Heldon, Magma and his solo-works. He is releasing music since 1974 and one of the best known french electronic musician.
Pinhas, Richard
Mark Jenkins - Mexico Rising

Artist: Mark Jenkins
P:1994
Mexico Rising opens with an epic concept track whipping through ambient, techno, ethnic and trance music and closes with powerful, spacey, sequenced music.  Inspired by a journey around Mexico and starting with an epic, six-section concept piece covering everything from dark ambient to thumping techno music, via melodic synth/sequencer material, all inspired by differing aspects of that majestic country. Joined by several long, sequencer-based tracks under the title "Space Odysseys", and even a synthesized orchestral/traditional music track, and featuring Alquimia (voice), Steve Jolliffe (wind synth and flute) and Richard Pinhas (guitar).

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Richard Pinhas + Merzbow + Wolf Eyes - Victoriaville Mai 2011

Artist: Richard Pinhas + Merzbow + Wolf Eyes
P: 2012
Merzbow, Richard Pinhas and Wolf Eyes together live at the Victoriaville Fest.

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Richard Pinhas + Merzbow - Keio Line

Artist: Richard Pinhas & Merzbow
P: 2008
Richard and Merzbow are both among the best-known figures in electronic rock music today. Merzbow is probably the single best-known artist in noise music today. While Richard's work wouldn't be considered to be in the 'noise' arena, many of the artists in the field have expressed great interest in his pioneering use of synthesizers and electronics in rock and contemporary music from the 1970s until the present.
Despite coming from very different backgrounds, they had long expressed admiration for each others work. Given all of this, it is probably not surprising that the most important electronic musicians of France and Japan should finally collaborate together! During Richard's second tour of Japan in the fall of 2007, he performed with Merzbow in what Richard called, "an incredible concert". A week later, at the end of this tour, they booked two days in the studio to work together again, this time on a recording. All material was recorded completely live by the two musicians, with extensive work done in the mix and re-mix stage. Keio Line (the name refers to the name of the train Richard and Masami would take from downtown Tokyo to the recording studio) is a two CD set, that is violent, soothing, hypnotic, noisy and trance-inducing.
All aboard the Keio Line!

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Richard Pinhas -  De L'Un Et Du Multiple

Artist: Richard Pinhas
P: 1996
Recorded live on a Roland Guitar at Heldon Studio, Paris, June-September 1995.

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Richard Pinhas - Chronolyse

Artist: Richard Pinhas
P: 1976 / 1994
While 1977's Rhizosphere was Richard Pinhas' official first solo album, Chronolyse is technically his debut. The problem was the album was recorded in 1976, but shelved until 1978, when it finally got released on Cobra. I really don't understand the two year delay, other than probably due to the fact Heldon had released two albums in 1976 (Agneta Nilsson, Un Rêve Sans Consequence Speciale), and having a Richard Pinhas album released that year might have been too much (much like Peter Hammill's Over's release was delayed, likely due to Van der Graaf Generator having coughing up two albums in 1976 with Still Life and World Record). Or perhaps the Urus label (which was previously called Disjuncta, which released all the Heldon albums up to Agneta Nilsson) went under and never got a chance to released Chronolyse. Too bad, I really thought the album deserved a release when it was first recorded because this is a truly great album of electronic and prog. Much of the first half of the album is consumed with "Sur Le Themes de Bene Gesserit", divided in seven parts. This is all sequenced electronic music, with a nice spacy feel to it. Like Rhizosphere, he doesn't touch the guitar. These pieces tend to be short, and they never overstay their welcome. The second half consists of the 30+ minute "Paul Atreides", at times closer to the Heldon sound you come to expect, where he also uses guitar and even Mellotron (that's the one instrument giving it away this wasn't recorded at the time of release, as after 1976, Richard Pinhas gave up on the Mellotron, he likely had those similar mechanical problems his idol Robert Fripp had, which caused Fripp to say, "Tuning a Mellotron doesn't"). This piece is simply amazing! It's truly one of the highlights for electronic music for me, and one of the best things I've heard in the Richard Pinhas/Heldon catalog. This album is truly a must-have for electronic music fans!

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Richard Pinhas - Cyborg Sally

Artist: Richard Pinhas
P: 1996
Maxi CD with different Tracks than the normal Cyborg Sally CD.

Here the last copy!

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Richard Pinhas - DWW

Artist: Richard Pinhas
P: 1993
This is a collection of unreleased tracks, Pinhas played between 1983-1991. So we find different styles, mostly electronic, sometimes with a symphonic touch.

Here the last copy!

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Richard Pinhas - East West

Artist: Richard Pinhas
P:  1994
Often nick-named the 'French Fripp', Guitarist/Electronic whizz Richard Pinhas decided to release some solo work alongside his band work. East/West is the 4th solo release of his, and again he summons the help of his old Heldon cohorts Didier Batard, Georges Grunblatt, Francois Auger and Patrick Gauthier. I'm not convinced that Pinhas has conquered any new ground here, but the album is quite enjoyable. Track 1 - 'Houston 69', Pinhas relies on Batard, Auger and Gauthier, with processed vocals from Norman Spinrad. The track hits you in the face with a barrage of electronic sounds and sequencers backed with a heavy rhythm, the Guitars are Frippian, and the overall feel is quite dramatic. Next up, RP creates a total re- working of a Bowie composition, 'Sense Of Doubt', fully re-interpreted and un-recognisable from the sensational original with a more ambient/programmed electronic styling. 'Kyoto Number 3' is along the lines of what Tangerine Dream were doing during that time (or were about to do...) with more Fripp-like Guitars and sequenced synths. It can't be helped that Fripp and Pinhas go hand-in-hand when it comes to guitar style. 'La Ville Sans Nom' features Georges Grunblatt on a Polymoog, and is fully along the lines of Fripp/Eno works, with a slow sequence and sustained guitar backdrop with some excellent Pinhas soloing. 'Ruitor' finishes the first side, another ambient piece that's very Eno-esque. Nothing original, nor offensive. The second half of the record has something far removed from anything by Heldon or what was on side 1 - 'West Side' features vocals from a Dominique E. and has more in common with Human League than Prog. Not my favourite tune here, to be honest. It's back to Fripp/Eno territory for the lovely extended piece 'Beautiful May'. This track stars Patrick Gauthier on Polymoog and PPG Synth. 'The Whale Dance' is a short ambient track, and the album rounds off with 'Houston 69 Part 2' - featuring Heldon members again, but this time around sounding more up-tempo and faster paced than the first part. In conclusion, this is a good Prog Electronic album.

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Richard Pinhas - Event and Repetitions

Artist: Richard Pinhas
P: 2002
Post Heldon, Pinhas's solo work has often been conducted with an electric guitar and the kind of infinite tape delay system associated with Robert Fripp and his collaborations with Brian Eno, though recently (like Fripp) he has abandoned the hassles of tapeloops for a stack of shiny digital boxes. In a casual blindfold test 9 out of 10 progheads would probably swear that this album was the work of the Crimson King himself. (If Stars in their Eyes ever do an ambient art rock special, Richard's your man for the Fripp impersonation). Though Pinhas adopts the same, pure fuzzed tone and a liking for big slides up and down the fretboard, closer listening reveals a more personal aesthetic at work. He generates billowing clouds of processed guitar which shift through different tonal centres, sometimes ambiguously, sometimes gently, sometimes suddenly. Improvised lines hover and swoop in the distance, but the guitarist avoids flash heroics, more concerned with maintaining the constant flow of notes into his angelic dronescape. It's music that's in flux and stasis at the same time, with an almost sculptural presence, stuffed with overtones and rich textures. Played loud, it's almost too much, like having your head stuffed inside a recently struck church bell, but it's a deep, fulfilling listen at any volume. If Robert Fripp is still the chairman of The Heavenly Music Corporation, then Richard Pinhas is its C.E.O.

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Richard Pinhas - Iceland

Artist: Richard Pinhas
P: 1979 / 1991
This incredible album of electronica was recorded in 1979 by French guitarist/keyboardist Richard Pinhas (of the prog band Heldon). Although Richard is a guitarist, the instrument is only used sparingly and the aural landscape is largely dominated by brooding synthesizer parts, taped effects, and synthesized percussion. However, drummer Francois Auger and mini-moog player Jean-Phillipe Goude join Richard on the excellent closing track Greenland, which adds a little variety. My general impression of the album is that the overall sound is gloomy, almost menacing at times, and yes, very icy. There is also a bit of an edge to the recording, which becomes apparent on The Last Kings of Thule and The Last Kings of Thule (Part 2), which feature some very Robert Frippish guitar parts and jarring synthesized percussion parts. I really like the two pieces and they both add a great deal of texture and structure to the album. In fact, I think its worth pointing out that this is not a passive listening experience - there is enough going on here to keep you on the edge of your seat. The last track on the album is a mammoth 24'53" bonus epic that was recorded in 1983. Entitled Wintermusic, it is far more ambient, static, and motionless than the challenging material on the original album. All in all, I would have to say that this is an excellent recording of electronica that is highly recommended to fans of 1970s electronica.

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Richard Pinhas - L'ethique

Artist: Richard Pinhas
P: 1982 / 1991
Guitarist/keyboardist/visionary Richard Pinhas divided his time and creativity between Heldon and his own solo work: the latter usually gave room to those musical ideas that demanded less of grandiose deliveries but a more concise set of arrangements. "L'Ethique" is his fifth solo effort, and perhaps it is one of the most accurately encapsulated in the definition of "cyber-punk" - the use of electronic resources with heavy accents on counterpoint and pulsation aims at the creation of a rocking sound that feels direct yet still sophisticated beyond the standards of mainstream rock (and electro-pop). The opening namesake track and 'Melodic Simple Transition' are showcases of Pinhas' interest in exploring the potential of techno- pop and state it in a more ambitious framework: the utilization of electronic sequences and layers manages to create a hypnotic, machinist ambience coherent with the catchiness of the main motifs. There are also powerfully rocking pieces in this album, mostly influenced by the emerging Belew-era King Crimson: track 2, precisely titled 'Dedicated to K.C.', is an exciting exploration on guitar counterpoints and dissonant chord progressions. The succession of all three different sections leads to a gradual climax. An excellent piece such as this would have augmented the artistic value of "Beat" or "Three of a Perfect Pair", which only comes to show how an artistic influence received with talent and imagination can lead to a "surpassing the master" moment. The Crimsonian fury will surely return in the very neurotic closing track 'Southbound', where drummer Auger competes with Pinhas himself for the limelight - I wonder if this track wouldn't have been right in place in any of Heldon's late 70s albums. pure progressive historical fiction. 'Belfats' incarnates a very interesting mixture of krautrock-inspired tehno-pop and Frippian soundscapes - this confluence between the ethereal and the robotic portrays the horrors of a civil war in a post-modernistic context fairly well. The second 'L'Ethique' and 'The Western Weil' sets a peculiar combination of mid-70s Kraftwerk and subtle touches of fusion, framed in a Far Eastern mood. The other 'L'Ethique' pieces emphasize the album's ethereal side, which reveal Pinhas' clever use of synthesizers and processed guiar inputs in order to set up a refreshing idea of emotion in sound. My overall balance for this album is quite positive: it is an excellent example of creative regeneration for art- rock in the environment of 80s rock. Pinhas really nailed the art of simultaneously evolving and preserving.

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Richard Pinhas - Metal / Crystal

Artist: Richard Pinhas
P: 2010
In Metal/Crystal, French experimental guitarist and electronic musician Richard Pinhas summons the assistance of noise artists Merzbow (Masami Akita) from Japan and Wolf Eyes from USA to weave a spellbinding aural web that spans 2 CDs.Over the years, many artists in the 'noise arena' have expressed interest in his pioneering use of synthesizers and electronics  in rock and contemporary music. Pinhas has likewise been intrigued by various areas of the ‘noise’ scene and Metal/Crystal, recorded "during these two worst years of my life" reflects these influences strongly. Metal/Crystal also intertwines some of the most radical electro-acoustic sonic innovations to emerge from three different continents: Europe, Asia and North America. Pinhas has been ceaselessly innovative in a career spanning more than 30 years, and recently has been exploring areas of the international ‘noise’ scene. His newest release shows him working with two of that scene’s highest profile artists; Merzbow and Wolf Eyes are considered to be the premier ‘noise artists’ of their respective countries. Metal/Crystal is Pinhas’ second collaboration with Merzbow, the originator of Japanese noise music. It is Pinhas’ first release with Michigan's Wolf Eyes, whom he’s worked with since 2007. In addition to Merzbow and Wolf Eyes, Metal/Crystal features several of Pinhas’ longtime collaborators: Antoine Paganotti (drums), Didier Batard (bass), Patrick Gauthier (mini-Moog) (all ex members of Heldon and/or Magma); Jerome Schmidt (electronics), whom Pinhas has recorded and toured extensively with for 2 decades; and his son Duncan Pinhas (electronics), who also helped mix the album with Laurent Peyron and Francis Gernet. The album’s artwork, by Yann Legendre and Joy Burke, features intricate, back-and-white cartoon-like drawings, with images hidden inside larger forms. The 6 lengthy tracks on Metal/Crystal features some of Pinhas’ most melodic guitar riffs in recent years, as well as his ‘noisiest’ sonic abstractions ever.

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Richard Pinhas - Metatron

Artist: Richard Pinhas
P: 2006
Metatron is over 2 hours of spacey and flowing music that isn't afraid to rock out completely as well, by French electronic rock pioneer Richard Pinhas (on guitar and electronics), with Jerome Schmidt on laptop, drummer Antoine Paganotti (Magma) and ex-Heldon members Didier Batard (bass), Patrick Gauthier (minimoog) and Alain Renaud (guitar), as well as Chuck Oken, Jr. (Djam Karet) on synths and Philipe Simon on violin on one track each.
While a lot of this is definitely comparable to Tranzition, his great last album, there really is a lot more rock involved this time around, as there are drums on the great majority of tracks. In addition to all the great music, there is a QuickTime video with footage from Richard and Jerome's 2004 North American tour.
Recorded from September 2005 to March 2006 at Heldon Studios, Paris, France.
Video track produced by Alain Bellaïche & Richard Pinhas.
All tracks composed by Richard Pinhas except Tikkun (part 1) and Tikkun (part 4) by Richard Pinhas and Jérôme Schmidt, Babylon Babies by Richard Pinhas and Maurice Dantec.
Antoine Paganotti - drums all tracks except 2-1, 2-5, 2-6
Patrick Gouthier - minimoog track 1-2, 2-3
Alain Renaud - lead guitar track 2-5
Chuck Oken Jr. - synth track 2-2
Philipe Simon - violin track 1-3
Didier Batard - splendid bass track 1-1, 1-2, 1-3, 2-7
Jérôme Schmidt - laptop & loops all tracks except 1-2, 2-3, 2-5, 2-6
Richard Pinhas - guitar, electronics & metatronic process

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Richard Pinhas - Reverse

Artist: Richard Pinhas
P: 2017

Richard Pinhas recorded seven influential albums as the leader of French space-rock pioneers Heldon in the 70s, with a further five solo records before his six-year break from music in 1982. Since returning to the form in the 90s he has been prolific, collaborating with such luminaries as Merzbow, Yoshida Tatsuya, Oren Ambarchi, Barry Cleveland, and Wolf Eyes

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Richard Pinhas - Rhizosphere

Artist: Richard Pinhas
P: 1977 / 1991
This early recording by Pinhas was one of the more electronic style releases. It sounds like Cyborg or Irrlicht from Schulze.

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Richard Pinhas - Single Collection 1972-1980

Artist: Richard Pinhas
P: 2007
Japanese Limited Edition issue of the album classic in a deluxe, miniaturized LP sleeve replica of the original vinyl album artwork. A collection of tracks originally released on 7-inches. Includes Schizo, Heldon, T.h.x., and solo recordings. 15 tracks in total.

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Richard Pinhas - Tikkun (CD+DVD)

Artist: Richard Pinhas
P: 2014

Richard Pinhas, the founder of 70s progressive legends Heldon, is one of the most uncompromising artists on the international rock scene, having remained constantly innovative and true to his personal artistic vision for 40 years and some 35 full length releases.

Oren Ambarchi is a guitarist, drummer and sound-artist who has performed and/or recorded with a huge array of artists, including Fennesz, John Zorn, Jim O'Rourke, Otomo Yoshihide, Evan Parker, Merzbow and others. Since 2004, he has worked with the avant-metal band Sunn O))), contributing to many of their releases and side- projects.

Pinhas and Ambarchi first recorded together when Ambarchi contributed to recordings that were eventually tied together with other contributors into Pinhas' 2013's release Desolation Row. Since that time they have been working on ideas, recordings and concert / live collaborations.

The personnel for Tikkun is: Oren Ambarchi-guitar, loops Richard Pinhas-guitar, synth guitar, effects Joe Talia-drums, effects Masami Akita (Merzbow)-loops, noise, effects Duncan Pinhas-sequences, effects, noise Eric Borelva-additional drums Interestingly, Richard specifically thinks of this album as a duo project that was conceived as a duo project for himself and Oren, despite the very effective contributions of the other four musicians. The music on Tikkun, which consists of three very lengthy tracks, comes across as a very tasty cross between the heavy, synth-driven, sequencer beats of classic Heldon and the much more noisier aspects of Pinhas' work over the last decade. In addition to the studio album, physical CD+DVD version also includes a DVD of a live performance of the duo. It was filmed at Paris' main venue for experimental music, Les Instants Chavires, October 29, 2013.

The CD was recorded in Paris at Heldon and Studio 314, 2013.
Mixed December 2013, Brunswick, Australia.

The DVD was recorded live in Paris, October 29, 2013 at Intstants [sic] Chavires, Montreuil, France.
DVD authoring at Inner Pixels Studios, Sacramento, California.

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Richard Pinhas - Tranzition

Artist: Richard Pinhas
P: 2004
Composer, guitarist and electronics innovator Richard Pinhas is recognized as one of France’s major experimental musicians.
A pivotal figure in the international development of electronic rock music, Pinhas' stature in France is analogous to Tangerine Dream's in Germany: the father figure of an entire musical movement.
The pioneering, aggressive music produced by his band Heldon during the 1970s, fusing electronics, guitar and rock, heralded the industrial and techno to come and remains today vital and unsurpassed.
On Transition, Pinhas weaves beautiful, spacey, processed guitar tapestries, with added color from laptop, violin and the drumming of Antoine Paganotti of Magma. The voice of the late author Philip K. Dick can be heard on “Moumoune girl”, from a 1977 tape that he gave Pinhas. The BBC described his recent guitar music as “Music that is in flux and stasis at the same time, with an almost sculptural presence, stuffed with overtones and rich textures.”
Transition is a multifaceted and richly jeweled work in which cause and effect, acoustics and electronics, taped sound and live playing change roles and even realities.
"Among collectors of electronic music, some names have become legendary and are present in every search list. These names include Richard Pnhas, the leader of the French cult group Heldon."

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Richard Pinhas - Welcome in the Void

Artist: Richard Pinhas
P: 2014

On 'Welcome In The Void,' Richard Pinhas again pushes sonic and compositional boundaries, this time in a very special collaboration with the legendary Yoshida Tatsuya, "the indisputable master drummer of the Japanese underground." Yoshida is one of the most important musicians of the Japanese experimental music scene for the last 35 years, spearheading at least a half dozen of that country's most important and best known experimental groups, including Ruins, Koenji Hyakkei and Korekyojinn.
'Welcome In The Void' is the second album in Pinhas' Devolution Trilogy, concerned with mankind's ideological and physical devolution at the hands of our modern socio-politcal world and technology. For the past several years, Pinhas the musician/philosopher has given thought to, in his words, the "Devolution of mankind, civilization, Capitalism's devolution, and mainly devolution of [human/biolgical] faculties related to the rise of machines". He describes 'Welcome In The Void' as "a kind of journey, not more into the being but into the void - the nothingness that is now the "center" or the absence-of- center of our societies." The first album in Pinhas' Devolution Trilogy was 2013's Desolation Row, a sonic protest against the rise of neoliberalism, the global economic crisis and rising social unrest.
Teaming up for their first duo recording, Pinhas and Tatsuya push each others' creative limits to make something that even for the experimental master Pinhas, is a new experience: a single, 64-minute, all-instrumental track consisting solely of guitar, percussion and electronics. The spontaneity, intensity, and sheer force of the music created by the duo is a marvel of musical give and take. The Pinhas/Tatsuya collaboration is an ongoing one, and the duo has plans to tour and record more material in Japan in the near future.

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V/A - A Future Age of Music

Artist: TD, Steve Jolliffe, Mark Jenkins,
Paul Nagle, White Noise u.a.

P: 1995
This is a collection made by the AMP label from the UK.

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