In a word: WEIRD. Man, listening to this we veered from thinking it was the best thing ever, to totally painful, and back again. The truth of course lies somewhere in between (and in each of us as individuals). But it's hard not to be intrigued by this, anyway... This Todd Tamaend Clark guy was (is) a psychedelic, avantgarde rock n' roller who toiled in obscurity for many many years though clearly he should at the very least have a cult following. Thankfully the diligent Anopheles label has put together this chronological collection of a large part of Mr. Clark's out-there output, and more folks will have a chance to appreciate what a few lucky collectors (and Mr. Clark's friends) must have been amazed and amused by for years! He's a bit of a Roky Erickson-like figure, though fortunately not so tragic.
Inspired by the comic books and sci-films of his childhood (he was born in 1952), Pennsylvanian part-American Indian Todd Tamanend Clark's musical career was perhaps destined for weirdness. Especially after seeing Monkee Mickey Dolenz playing a Moog on TV in 1968, the same year the United States Of America LP came out, both of which were life-changing musical experiences for Clark... his love of '60s garage psych (borne out by covers of the Electric Prunes and Paul Revere & The Raiders found here) warped into a realm of DIY electronics. Thus the list of synths and effects used on this 2cd set is a long one!! Yup, heavy doses of spacey synth and distorted garagey punk riffery (a '60s-ish Lightning Bolt meets Sun Ra??) are the norm here throughout Clark's varied output, which includes lengthy psychedelic epics, weird experiments in murky electronics, earnest songsmithery, and brash rockers. There's an atonal droning "outsider art" quality to a lot of this that will make and/or break it for most folks. The vocals are the toughest part... an over the top, slurred mix of Jim Morrison and Jandek, perhaps? All the weird poetry he's spouting sure goes with the freaky music even though you'll probably have no idea what's he on about. And with all the prog twists and haunted house synth noises going we're sure it makes perfect sense somehow. The earlier stuff at the beginning of the first disc is heavy on the primitive electronics (best example: the overwhelming 13 minute opening soundscape "March Of The Legion") and druggy vocal delivery, while later in the two-disc set, when we enter the '80s, the songs get more "pop"...in Clark's mind anyway. Things have tightened up a bit, though that doesn't preclude the appearance of a 14 minute track ("The Grim Rider") nor a fucked up, computerized version of the "Star Spangled Banner"! And the use of new wave '80s technology only makes things kitschier. If you dug the Happy Dragon-Band and Zolar X reissues, you might find this stuff to tickle the same fancies.
All the tracks are taken from Clark's various ultra-rare, self-released LPs and 7"s spanning the years 1975-1985, including all the material from such albums as New Gods: Aardvark Thru Zymurgy, We're Not Safe!, and Into The Vision, released under various names (The Eyes, Todd Clark Group, The Stars). He didn't do all of this alone, y'know. Over the course of these 33 tracks (150 minutes of music!!) you'll hear contributions from many of Clark's friends, and family too. In fact, a few famous names appear, with one track featuring the voice of William S. Burroughs and on others, instruments played by Cheetah Chrome of the Dead Boys and Pere Ubu's Allen Ravenstine!
With typical Anopheles throughness, this comes with a 20 page booklet stuffed with biographical information, photos, equipment lists, musician credits, and liner notes, including track-by-track comments from Clark himself.
Not everyone's gonna need/want all 150 minutes of this, to be honest. Could have been a short, more bearable "best of". But then again, WE want to hear it all. So maybe you do too. And you can always make your own best of after you've listened to the whole crazy shebang. We'll end this review the way it began, with a word it seems most AQ customers respond to well: WEIRD.
The crude cover painting is sorta psychedelic, and though this album dates from 1982, the breathless obi text claims this to be the work of an "unknown brilliant all original outsider loner singer songwriter who completely sounds trapped in 1972 not '82!!", so we kinda had to check it out, being big Bobb Trimble fans after all, who also fits that description. But, we were also a bit wary, 'cause while it's true that the reissue label Riverman, based in South Korea, HAS put out some pretty cool stuff - including the George-Edwards Group and Ted Lucas discs we've reviewed recently - they also have reissued a lot of things that, uh, we don't quite "get". They seem to have a thing for American '70s singer-songwriter soft rock, maybe it's more "exotic" for them than it is for us, but a lot of their catalog seems to consist of justly-forgotten thrift store mediocrities that we have a hard time understanding why collectors (in Korea or elsewhere) care about. But yeah, once in a while they nail it. So we're always curious about their reissues, hoping they'll come up with a really amazing, acid folk obscurity or something like that. Plus they sure look good in their mini-lp style sleeves, with beguiling blurbs on their obis - that, again, they rarely really live up to. However, guess what? Peter Elizalde's oddly titled Winter Playground Mystery, kinda actually does! There is certainly something "outsidery" about it, that's for sure. Your mileage may vary, indeed ours already has, some of us here are totally digging on this (enjoying it a bit ironically, maybe, but for reals too), others like Andee gave it the gong...
Here's the deal. While there's elements of psych and prog here, what this really is, is "yacht rock"! Outsider yacht rock, but yes, yacht rock. Even though it's from '82, the Berkeley-based Elizalde, an obviously talented multi-instrumentalist, was super into seventies soft rock and jazz fusion, and we figure exceedingly influenced by the likes of Todd Rundgren and Steely Dan. So, much of this is synth laden, sprightly '70s sounding AM radio pop, with, naturally, the occasional cheesy saxophone solo. And oh boy is it poppy, these songs sound like hits that never happened, y'know, totally like they should be familiar, and in fact soon will get stuck in your head... yet they're just a bit weird and warped at the same time. In part that's 'cause Elizalde has an ever so slightly strange singing voice, often oddly high and nasal, which might have to do with the fact that he grew up in Peru, perhaps that's a little trace of a Spanish accent we're hearing? Or more likely he was a big Al Jarreau fan. Besides that, this disc is also full of surprises. For instance, track 5, "Passion Play", an exuberantly uptempo, POP-PUNK song that we definitely weren't expecting, which would have opened the original lp's second side with a bang. Really cool though, especially with its slightly incongruous keyboard lines, like some sort of super happy new wave. The wild guitar soloing on this one is also pretty choice. Later on, the album's big finale, "Day Dreamer", is another stop-and-stare-at-your-stereo number. It's one of the catchiest cuts on the record, with high pitched Bee Gees style vocal harmonies, but Elizalde also cranks up the distortion on his guitar, and also indulges in some over the top synth soloing, turning the track into a burnin' jazz fusion freakout by the end of its rather proggy 7+ minutes! Wow.
Overall this album is an eccentric mix of goofy pop pleasures, synth shred, and moments of truly emotional beauty. We also wonder if the several songs with a lyrical focus on winter, are somehow part of an exercise in Beach Boys/Brian Wilson emulation, but just about the opposite season to summer?
Well, you'll either love this or hate it, if the AQ staff is anything to go by. Enough of us love it, though, to suggest you open your heart to it, those of us here who did are happier for it. If we're gonna listen to "yacht rock", this gets our boat afloat... Though Elizalde is no Bobb Trimble, this is still pretty cool, and catchy, and quirky, and equally kitschy.
We can always count on local reissue label Companion Records to foster the kind of rare hidden musical gem that perhaps won't appeal to everyone, but will get a select group of enthusiasts very excited over the discovery of someone's sincerely unique, but often-times misguided musical vision. Companion's specialty has always been private press vanity records, such as the Louie Louie, Charlie Tweddle, Marc Mundy and New Creation records, and for their first foray into vinyl releases have given us two quite amazing but very different musical visionaries: the latent mope-psych of Stan Hubbs (reviewed elsewhere on this list) and the spirited orchestral lounge stylings of Michael Farneti.
Hailing from South Florida and recorded in 1976, Michael Farneti's Good Morning Kisses is a brilliant head-scratcher. Indeed, it seems Farneti is channeling Van Dyke Parks, The Neon Philharmonic, Harvey Sid Fisher and Scott Walker in his wide-eyed enthusiastic and sometimes melancholic songs about Movie Stars, ESP, New York Muggers and Georgia Peaches. Without a hint of irony, Farneti exudes a wonderfully naive charm with strange (and perhaps unintentionally humorous) lyrics and sometimes goofy songs (an example: "Shower, shower, shower until you smell like a flower" on the title track). While we admit we maybe use Ariel Pink's name as a comparison too much in our reviews, it does seem apropos here, because if Ariel Pink played piano in a Reno airport lounge in the seventies, it might sound a lot like Good Morning Kisses. It definitely has the falsetto harmonies, Theremin flourishes, and washed out orchestral yacht rock arrangements that can be heard on Doldrums. Though some songs may make you cringe ("Rock Candy Roll"), there are plenty of golden moments and for fans of unique musical visionaries like the ones we mentioned above, Good Morning Kisses has a lot to offer. Limited to 500 copies. Sweet!
Woah. This is a weird one.�A home-recorded psychedelic one-man-band "rock opera" from 1972, originally a rare privately pressed LP, now reissued on cd. Super freaky and moody and fuzzed out, with a messed-up "my woman done me wrong" vibe to it all. One JW Farquhar of Philadelphia sang and played all the instruments, though there are some other, presumably non-existent musicians credited on the sleeve... get a load of his supposed band, some of the best fake names ever: "Riffery Lowknut" on fender bass, "Slash Mullethead" on percussion, and "Callust Likfinker" on lead guitar! Steel Mammoth wishes they'd thought of those.
In the liner notes JW says that many of these songs "were written as an outcry against the materialistic nature of the woman during that time period". Maybe a little bit misogynistic? Well, apparently JW had just recently gone through a difficult divorce after having been married for 10 years, and was pretty down on women in general. Regardless of the merits of his bitter outlook, the bummed-out emotions expressed are certainly real. And feed into some genuinely twisted, trippy music.
The first two tracks, "The Formal Female" and "The Want Machine", are both multi-part suites, 11-12 minutes each. Groovy, laid back, lonely stuff, rife with FX and heavy doses of fuzz guitar (at one point, JW does to the traditional wedding march what Hendrix did to the "Star Spangled Banner"). "The Want Machine", with its funky guitar and guttural dialogue, almost sounds like the freakin' Jimmy Castor Bunch circa It's Just Begun, jivin' and acid-dosed (here, downer-dosed).
On "My Bundle Of Joy", JW's sad, melodic vocals are accompanied by what sounds like a primitive drum machine ticking away. It's really weird and lovely. Not sure what it reminds us of, maybe Vincent Gallo? Also, there's a good deal of woozy harmonica, or what could be Augustus Pablo style reggae melodica, all throughout the album. "Where Have You Been" and "Mansions" are equally odd and entrancing. Spacey, echoey, outsider rad dudeness! JW Farquhar is part George Brigman, part Dreamies, part Bobb Trimble, part Perry Leopold... like we said, a weird one. Not every Shadoks reissue is amazing, but sometimes when they find an obscure gem, like this, they really hit it out of the park, we're telling you. And as break-up records go, this one's unique.
EM strikes again! Another out of left field release from our favorite weirdo reissue label. This time it's a career retrospective of the one and only Legendary Stardust Cowboy. More heard of than actually heard, this super deluxe collection gathers up all the essential bits and pieces from the Ledge's tumultuous career, from his first single, "Paralyzed" recorded in 1968 by a then unknown T-Bone Burnett (who also played drums) all the way up to tracks from his 1984 album Rock-It To Stardum.
But who is the Legendary Stardust Cowboy, and why does anyone care? Well, it's been a long time since we heard this stuff, and boy does it sound even more totally wacked than we remember. It's like stripped down country rhythm and blues with a maniacal madman screaming and howling, in a totally unintelligible much mouthed howl over the top. Anyone familiar with Brak from Space Ghost Coast To Coast or with Homer, the crazy guy who plays guitar on various corners of Valencia Street might have an inkling of what's going on here. Or imagine AQ fave Jon Wayne (the band not the man) recording a record after full frontal lobotomies. Completely mental, ultra damaged, outsider country rock. Hard to believe the reaction the 'Ledge must have gotten when he appeared on Laugh In in 1968, these days we're exposed to so much insane music and so many weird records, but back then, this must have been the freakiest goddamn thing America had ever seen or heard.
For some songs, the Ledge cranks it down, and delivers his demented narrative in a sung-spoken drawl, like a more damaged twangy Lou Reed, but even those tracks are peppered with stumbling spastic drums, fake bird calls, random bits of talking, studio sounds, detuned guitars, weird bursts of way-up-in-the-mix sci-fi synths and all manner of bleating trumpets.
THE definitive slab of outsider country music. Like some impossibly demented mix of Chet Atkins, Reynols, Daniel Johnston, Brak, Jon Wayne, Joe Meek, Buddy Holly, Wild Man Fischer and Hasil Adkins.
And as with all EM releases gorgeously and extravagantly packaged, in an oversized Japanese style jewel case, a huge booklet packed with liner notes (most in Japanese), photos and lyrics and of course a Japanese style obi. The entire thing beautifully printed with gold ink on white. Leaves us saying "wow" for a bunch of different reasons!
"Touchy"? That term could connotate affection or annoyance depending on how receptive you are to the bizarrely heartfelt musical stylings of the one and only Luie Luie. Seriously music making doesn't get more strange, sincere and ambitious as this. Once called the "Greatest Single Act In The World", Luie Luie is a one man band of drums, trumpet, Moog, guitar and flute who often (and still does!) performed in Mexican and Mediterranean restaurants in Southern California. But he is so much more than that. Soldier, Martial Arts Enthusiast, Actor (he appeared in a film with Elvis!), Musician and Inspirational Speaker, he created a new dance concept called the "Touchy" to help bring people closer together and engage each other in new and exciting ways musically. On this album from 1974 with almost every song including the word "Touch" or "Touchy" in their titles, he begins each song with a spoken preamble that outlines his philosophy on life, love and humanity and how his "dance' works. With the help of the "Touchy Button", a pin with a drawing of Luie's face on it, partners can wear the pin on various parts of their bodies and the object is simply for the partners to touch each other with their "Touchy Buttons" to the music. Yet, the music Luie creates is probably not what most would describe as dance music. Often beginning each song with a loud trumpet blast, followed by lurching rhythms and swampy beats that waver in and out of tempo, containing melodies that seem like a underwater Mariachi band went insane, the music seems almost counterpoint to his endearing explanations of togetherness, like you may want to run away...far away! But with a closer and more firmly resolved listen, you have to realize that the music and this album are truly extraordinary. Who else could make music this warped and wacky yet with absolutely no tongue in cheek? And with each new song we're drawn in to its wonderful strangeness and naivety that by the end we're all smiles. Companion Records has done an amazing job with this reissue, working directly with Luie so that he finally receives royalties for this record, which has been bootlegged several times in the past. With extensive photos and liner notes by Luie himself and for a limited time, each copy will include two newly remade "Touchy Buttons". Fans of Incredibly Strange Music of all types and varieties, this is a must have!
Most of the time, compilations are intended to bring you the "best" of something. This one, though, is different! The compilers have deliberately put together a compilation of the WORST. A collection of "the obscure, the peculiar, and in some cases the downright disturbing". And of course, we recommend it! Now, the Psychic Circle label is known for all their keen compilations of '60s psych pop, "instro-hipster" groove, glam rock, and other vintage obscurities. Many of their discs are compiled by Nick "Bevis Frond" Saloman, who here, along with colleague Mick Dillingham, delve into a very different, and certainly much less cool/good/valuable, section of what must be vast, vast record collections. The section labeled "incredibly strange (or daft) music"! Collectable perhaps, but definitely more as a compulsion than an investment. They're mostly flea market and junk shop finds, we imagine. Barmy commercial jingles. Novelty tunes. Celebrity cash-ins. Easy listening attempts to be hip. Embarrassing (though fairly witty) rapping by an old white Englishman promoting his darts themed TV quiz show. Disco-sploitation. Would-be exotica and/or erotica. Super sappy lovesongs. "Ethnic" oddities (including more rapping). Et cetera, et cetera. Like other Psychic Circle comps, it's stuff from from the '60s and '70s (though it's possible that the ones with the rapping could be from the early '80s), some tracks having an increased humor factor due to their datedness. The other humor factor: how terrible, terrible this music is. Quite painful some of it. But also really funny. And sometimes pretty darn catchy. Which actually is a dangerous thing - you might wind up with some really bizarre stuff stuck in your head as a result of listening to this. Don't say we didn't warn you. But who wouldn't want, ferinstance, "These Boots Are Made For Walking" as performed (for some reason) by an outfit appropriately called Balsara & His Singing Sitars stuck in their head? Certainly not you.
There's an overwhelming 33 tracks here (OMG!). And immediately you'll find confusional, cringeworthy fodder for your next voicemail greeting, or something to render the next mix tape (cd-r, playlist, whatever) you make just a little bit weirder! Most of the stuff here was previously quite unknown to us (though we venture to guess that if you grew up in the UK, there's a chance you might be more familiar with some of the entries). And even if we knew the artists, such as the celebrity contingent of David McCallum, David Carradine, and Xaviera "The Happy Hooker" Hollander (performing separately, not together, now that would be REALLY crazy), that didn't really prepare us for what their tracks were all about. Or maybe it did. Bizarre stuff in any case, as are all the rest of the tracks here, which include everything from Micky Katz's Yiddish version of "K'nock Around The Clock" to a silly shoe advert ("The Weakling In Thom McCann Shoes") to opera singer Cathy Berberian's faux-classical take on the Beatles' "I Want To Hold Your Hand" to a big band version of the Monkees theme to naive outsider homemade pop to discofied Pink Floyd. Just when you think it can't get any worse or weirder, it does!! And let's not forget, this starts off pretty insane, with track two being about the weirdest bit of civic boosterism ever, a song called "Energy In Northampton", commissioned by The Northampton Development Corporation and sung by one Linda Jardim, this song tells of aliens from outer space crash landing in the town of Northampton and finding it quite to their liking!
It's like Saloman and Dillingham took turns one-upping each other with the most absurd, atrocious recorded artifacts they (perversely) treasure... "Oh, you thought that was bad? Get a load of THIS!" and you get to hear it all, in its awesome/awful glory. The cd booklet provides some mercifully brief details about each track along with appropriate accompanying graphics in full color (and also reveals that most of the blame here goes to Mr. Dillingham, from whose crazy collection most if not all of these records were sourced). We're sorta surprised this is on Psychic Circle, and not, say, the Trunk label. This disc seems destined to become a beloved best seller... at least here at Aquarius!
From the same label that released the three volumes (so far) of the wonderful "Love, Peace, & Poetry" international '60s psych compilation series, comes this new collection focusing on, uh, abnormal country music of the psychedelic era? Or as the label
Sometimes we just have to pinch ourselves to make sure we're not dreaming, and that Japan's EM Records and all the crazy stuff they somehow find and reissue is actually real! Seriously, it's hard to believe, EM dig up such obscure things that are just so AQ-perfect, so darn weird. We have whole sub-genres of stuff in stock here at the store all because of EM - steel pan funk, psychedelic surf soundtracks, singing saw music! And quite a few one-off items that pretty much represent new genres in and off themselves. Like this one, which EM almost too tamely describes as "Obscure evil psycho machine-funk from '80s Washington D.C. Psychedelic madness!".
From the moment Wicked Witch showed up in the mail, we were ensorcelled. Heck, this pretty much had us with the cover, featuring a Vice magazine Dos and/or Don'ts worthy photo of a mysterious, ridiculously bad ass lookin' African American fellow wearing shiny black leather and spikes, sporting a knife in a scabbard attached to one of his boots. He's got his hands on his hips, his eyeballs are colored in red, and we sure wouldn't want to mess with his rad dudeness. But even that strange, sinister image couldn't have prepared us for what this actually sounds like... Which is, to us, ARIEL PINK PLAYING FUNK!! It's that damaged, that lysergic, a one-man outsider take on the druggiest moments from early '70s Miles Davis and especially Funkadelic, like "Wars Of Armageddon" off of Maggot Brain ferinstance.
The first track of this anthology, "Fancy Dancer", a 7" single from 1985, drops the listener right in at the deep end, a dense miasmic phantasmagoria of percolating off-kilter grooves, funky vampings, and creepy, low-end synth buzzings and growlings, further made freakier towards the end of its 5 1/2 minutes with a dose of wild psychedelic electric guitar soloing. Damn. Don't even know if funk is the right word for this. How about "glunk"? 'Cause it's got such a melty, gooey viscosity to it. The credits tell us this appeared on a 7" single from 1985, with all instruments and vocals by Richard Simms (he's the cover star, he's Wicked Witch, and he's apparently quite a character!). Next, track two, "Erratic Behaviour", is maybe even more murky and chaotic, a mixture of echoing, babbling voices and tick-tocking drum machine, set loose amidst swirling electronics. It comes from another 7" single, circa '83, as does the similar track three, "X Rated", which adds some "sensual" guest female sex-freak vocal exhibitionism over the lashing beats, bass throbs, and general dementia. But it's at least as spooky as it is sexy...
Then, track four, "Vera's Back", suddenly shifts things into another realm, delving into Wicked Witch pre-history. Written and produced by Simms, this track was originally released in on a 12" in 1978 by a band he was in (on bass and vocals) called Paradiagm [sic]. It's twelve minute workout of shredding jazzfunk fusion, with over the top chops, a la Return To Forever, with violin and echoing vocals and proggy changes galore. It's a lot "cleaner", less distorted and drugged out than Wicked Witch's later bizarre cauldron bubblings, but still pretty crazy, some of it like Goblin on speed!
The next three tracks bring us back to the more unusual funk (or glunk?) stylings of Rick Simms solo in the '80s, with two takes (one instrumental, one vocal, though both have vocals, the latter just more n' nuttier of 'em) of a track called "Electric War", from a 1984 Wicked Witch 12", and then, for a finale, the disc comes full circle with a previously unreleased, extreme remix of "Fancy Dancer" done in '86. Again, weird, dense, DIY outsider grooviness. Yep, CHAOS: 1978-86 is aptly titled. And we're still astonished, dunno how EM does it. Who digs deeper? You couldn't make this stuff up, we know, but we're still pinching ourselves. Maybe Wax Poetics will do a feature on Wicked Witch one of these days... we can only imagine what became of Simms, perhaps institutionalized in some asylum for the Funkily Insane. In the meantime, you can pour over the photos included herein.
FYI, the above review describes the programming of the cd version, EM's lp of this has a slightly different running order and in fact some different tracks! The vinyl edition omits the "Fancy Dancer" remix and the "Electric War" vocal version. But, its "Erratic Behaviour" and "X Rated" are both remixes different from what's on the cd. And, there's a whole 'nother previously unreleased cut on the lp, "Under Your Spell", eight and half minutes long, from 1986! So we can't tell you which format to choose. Either one, or both, are highly recommended!
Adolf Wolfli (1864-1930) has long been one of our favorite artists. An incredible touchstone of what has been called Art Brut or more commonly Outsider Art, Wolfli created an epic body of work while suffering from psychosis (and resulting hallucinations) and confined in isolation at the Waldau Clinic in Bern, Switzerland for the latter half of his life. Working with loaned pencils and newsprint and other materials that he would have to scrounge from his surroundings, Wolfli developed an amazing kaleidoscopic cosmology of vast complexity featuring colorful angelic orders, dynamic structural compositions and weaving motifs of idiosyncratic musical passages. Some of these exist as free drawings, but most (1600 of them!) were illustrations for a semi-autobiographical epic that eventually expanded into 45 volumes of over 25,000 pages. The musical notes, starting out as decorative motifs at first begin to take on more significance as he developed his epic book, especially in the last two volumes where he outlines his musical theories, favoring marches, waltzes and mazurkas for their rhythmic quality, as a means (to put it very simply) of some form of spiritual self-transformation. It has remained unclear if Wolfli had musical training or if he transcribed the scores from found sources, but he often would write out the scores and play them on a paper trumpet he made.
Which brings us to the purpose of this book and cd. There already exists a history of analyses of Wolfli's musical scores to see if they actually can be performed. Recordings have been made including one by Graeme Revell with the help of Nurse With Wound in the late Eighties, but many of these were largely interpretive and subjective, adding ambient impressions largely based on the visual aspects of the artworks as well.
For this particular analysis, Belgian composer and violinist, Baudouin de Jaer, who didn't have previous exposure to Wolfli's work, sticks to a more empirical approach to the scores. Limiting himself to solo violin with mute, de Jaer attempts to decipher what he sees as cryptograms (Wolfli made the scores with six lines staves instead of the traditional 5 lines and didn't connect the notes horizontally, suggesting alternate meanings), and forms his own detailed hypotheses in the book about how Wolfli put the musical forms together (mostly believed to be copied from a book of marches for 4 handed piano). Musically, the 32 pieces are very short and spare (about a minute or less with the longest clocking in at about 3 minutes). But de Jaer does a lot with little, often using the side of the violin for percussive rumbles or rubbing the strings for bird-like chirps, the music has an off-kilter fanfare feel to it that follows logically from Wolfli's divine cosmological visions. The book is about 25 pages with full color illustrations and text in French and English and with the cd, offers a fresh new insight into this complex artist's work that will be of interest to old and new fans alike!
