Already in the seventies at his time with Heldon Richard Pinhas published experimental electronics also under his own name. With "Desolation Row" he now adds a remarkable mosaic piece to his immense discography. It sounds rough, sometimes aggressive. According to his own information, he remembered the 68 riots for the album and felt that today's neo-liberalism was turning into a techno-fascism. He expresses his anger and dismay in enormous instrumental chunks. Electronic music similar to the Berlin school that Pinhas used to play is not "Desolation Row". Sequencers and shimmering synths also run here, but they merge into harsh industrial noises, driven by powerful drums (in "South" they remind us of Klaus Schulze's "Friedrich Nietzsche"). The oppressive atmosphere is reinforced by guitars reminiscent of circular saws (for example in "North"). In "Moog", nouns are omens: for 18 minutes, vintage synth sounds sound, dark, hovering, ruffling, sometime ending in a simple loop, like in the early seventies.
Top track: Moog