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Hailing from France, Hellebore was the collective effort of Jean Cael (Bass, Crumar and Vocals), Alain Casari (Saxophone, Clarinet, Flute and Vocals), Antoine Gindt (Guitar and Crumar), Daniel Koskowitz (Drums, Percussion, and Vocals) and Denis Tagu (Piano, Organ, Guitars and Vocals). Stylistically Hellebores’ sound is almost impossible to categorise. Formed and composing music after the initial heady days of ‘Rock In Opposition’ (RIO), when RIO music was anything but flourishing, they held firmly to the roots of many earlier RIO. bands, influenced by pioneers such as Henry Cow, Etron Fou Leloublan and (on their more sinister side) Univers Zero .
To the distress of many, Hellebore released only one album “Il y a Des Jours”. Originally recorded over a 20-day period, from December 1983 to January 1984, it was not until 1985, when “Il y a Des Jours” found the light of day, when was released under Ayaa Records. Because of the limited 1007 issues, along with the extravagant sleeve and inlay design, “Il y a Des Jours” has become a much sought after item among collectors. The album moulds 7 blinding tracks, from as many genres as one can possibly fathom; Classical chamber music, Zeuhl, New wave, Free-Jazz, Electronic etc; while maintaining an almost dangerously relaxing state amidst the onslaught of oddities.
Though criminally overlooked, Hellebore’s music is a must for anyone interested in how a wide range of musical traditions can come together to form a deceptively simple, sonorous whole. A masterpiece of RIO and music in general, and a seminal influence on later music of the absurd. Essential listening.
To the distress of many, Hellebore released only one album “Il y a Des Jours”. Originally recorded over a 20-day period, from December 1983 to January 1984, it was not until 1985, when “Il y a Des Jours” found the light of day, when was released under Ayaa Records. Because of the limited 1007 issues, along with the extravagant sleeve and inlay design, “Il y a Des Jours” has become a much sought after item among collectors. The album moulds 7 blinding tracks, from as many genres as one can possibly fathom; Classical chamber music, Zeuhl, New wave, Free-Jazz, Electronic etc; while maintaining an almost dangerously relaxing state amidst the onslaught of oddities.
Though criminally overlooked, Hellebore’s music is a must for anyone interested in how a wide range of musical traditions can come together to form a deceptively simple, sonorous whole. A masterpiece of RIO and music in general, and a seminal influence on later music of the absurd. Essential listening.