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Half Moon of Pascals

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Album Review

Americans are mostly unaware of Pascal Comelade's musical career, but the man who plays fascinating music with toy instruments (among other things) has tapped into the "inner child" awareness trend and his influence can be felt on avant-garde and popular artists throughout Europe. The most seductive avatar of Comelade's following comes from Japan. Pascals is the name of a 16-piece ensemble led by Rocket Matsu. At its inception in 1995 Pascals was a Comelade cover band, but later the group began playing its own material, while still interpreting tunes by Comelade, Henry Mancini, Nino Rota, and Brian Eno (at least on this record). The instrumentation includes guitars (acoustic and electric), ukulele, banjo, violin, harmonica, accordion, recorder, musical saw, and a plethora of small percussion and toy instruments. The most unlikely ballroom orchestra, Pascals creates more of a street fanfare. The music remains very simple in terms of structure and melody — but arrangements are carefully crafted — while there always remains a level of uncertainty in the pitch of instruments and a certain impression of amateurism. These are not professional musicians, but music fans who express themselves through means that are accessible to them. Guigou Chenevier's project Les Rumeurs de la Ville could be conjured up, as well as the music of Frank Pahl, but the best comparison is still the approach of Pascal Comelade himself. From Western-esque ballads to toy piano sambas, from Nino Rota's "Amarcord" to Japanese songs about having tails and fins before birth, Pascals' universe is filled with poetry, innocent childlike fun, and unsuspected Flex-A-Tones. ~ François Couture, Rovi

Half Moon of Pascals, PASCALS
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  • 9,99 €
  • Genres: Rock, Music
  • Released: 2000

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