Track List & Featuring

Musicians

Pascale Son: Vocals, oboe
Daniel Schell: Acoustic and electric guitars, alto flute, devices
Marc Hollander: Keyboards, bass clarinet, alto saxophone (on ‘Mon Rebis’), devices
Alain Goutier: Bass
Guy Lonneux: Drums

GUESTS :

Bob DARTSCH : drums on "In Lulu", "Ixelles", percussion on
"Viva Boma", "Nog Verder" (studio version)
Denis Van HECKE : cello on "Ixelles"
Pipou, Jean-Louis HAESEVOETS : percussion on "Viva Boma"
Marc MOULIN : mini-moog on "Flamboya" and "Ixelles"
Roger WOLLAERT : drums on "Reine de la Vallee"
Willy MASY or Jacky MAUER : drums on "Fanfan la Tulipe", vocal improvisation.

Many thanks to Dirk, Sonia, Charlie, Euromusic, Castellucci, Ronald Zollman, Anna MULLER and "Cafe des Sports".
Recorded at Cathy's 24 track studio, Brussels, Belgium, July 1976
Sound engineer: Pierre DUPRIEZ

Produced by COS and Marc MOULIN.

Cover illustration: Alain GOUTIER.

Photography: Anne ROLAND.
Handcolouring: Vincent Kennis Van VOGT.

Published by EMI 1976 and re-released by Fluide Records 2010.

This record is dedicated to Mick MAHLER and Gustav JAGGER, and to our mums and dads.

Biography and booklet notes by Francis GROSSE!

Translation by Chloe SCHELLEKENS (Daniel and Pascale's daughter) and Dorian CUMPS.


Track List

   1. Perhaps next Record  1,25

   2. Viva Boma 2,35

   3. Nog Verder 4,32

   4. Boehme 3,17

   5. Flamboya 7,33

   6. In Lulu 4,08

   7. L'Idiot Leon 10,48

   8. Ixelles 5,02

CONTENTS

Record + Insert + Obi = COS Viva Bo(m)a

Buy COS - VIVA BOM(M)A - Official Re-Release 2010

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A Look At COS

 The album, called "Viva Boma", features 8 tracks. As an introduction comes "Perhaps next Record", recorded on 4 tracks at their rehearsal room and showcasing Marc and Daniel's passion for Tyrolean music, the Farfisa organ designs, and new sound experiences. On this title Daniel uses a fretless Aria guitar which sound is channelled through the rotating filter of the EMS synthesiser.
 "Viva Boma", which can be spelled in two different ways ("Viva Boma" and "Viva Bomma"), evokes two different universes: "Bomma" that comes from the Brussels dialect word for Grandmother, and "Boma", the name of an African town along the river Congo. Therefore this tune reveals the typical humour of the hand, which mixes the world of Tintin, Brussels and Belgian Congo. It is presented as a pseudo-ethnical document from the Brussels district of Koekelberg. As an adept of hermetism (a secret expression of alchemy created under the Inquisition and which appears under an allegorical form), Daniel gave a graphic clue to the album sleeve, which represents hippos on the river passing along Boma, while the backside features the "grandmother", Anna MULLER. "Viva Boma" which was initially called "Foramini", combines classical singing and African percussion. That is why two percussionists, Pipou and Jean-Louis HAESEVOOTS made guest appearances on that title.

1

 "Nog verder" is the Flemish translation for ''much further" and the words are sung in "Lincos", Lingua Cosmica, a language which allows to communicate with the E.T'.s! Daniel discovered it in a book by the Dutch logician Hans FREUDENTHAL, who also inspired the group's name. This composition contains an energetic melodic treatment based on 7/8 time signatures.
 "Boehme" is a tribute to a hermetist philosopher appreciated by Daniel. It is supported by a complex harmonic progression dedicated to his harmonics teacher, Ronald ZOLLMAN.
 "Flamboya" was inspired by a melody ordered by a well known Belgian film producer, Jan van RAEMDONCK, for whom Daniel worked extensively. This composition contains an unusual harmonization in broken triads, as well as a composite (4+4+3/8) time signature."In Lulu" alludes to a character of the unfinished dramatic play by Frank WEDEKIND and adapted as an opera by the famous Viennese composer Alban BERG. Daniel wrote the melody and Marc created the harmonic development.

2

 The pair also composed "L'idiot Leon", which refers to the lydian musical form and to an imaginary character, Leon, a typical and popular figure of open-air cafés and Brussels folklore. This ambitious composition contains a harmonization in 3 voices (oboe, flute and bass clarinet) as well as a 5/8 time signature, meditative passages and wild sequences. Some parts of the theme were included in "Son of idiot" by AKSAL MABOUL, the group formed by Marc HOLLANDER after he left COS.
 The album ends with "Ixelles" in which long instrumental parts alternate with vocal sequences in French dealing with the pollution in that Brussels district where Daniel was born. Denis van HECKE underlines the melancholy of the theme and of  Pascale's voice with the low chords of his cello.

The front sleeve artwork was designed on Daniel's suggestion by Alain GOUTIER, a former pupil of the Brussels Beaux Arts Academy. The backside consists of a photograph taken in July 1976 at the Cafe des Sports (a typical Brussels place in the style of the 1930's) by Anne ROLAND, a friend of the group. The original black and white model was coloured by Vincent KENNIS, a musician of the Brussels area and future associate of Marc HOLLANDER. It features all those who took part in the album: the whole group, Marc MOULIN, Jean-Louis HASEVOETS and girlfriend, Denis VAN HECKE, the guest musicians with their girlfriends, the "grandmother" Anna MULLER, the group's manager, Dirk VINKEN and his wife Sonia, Vincent KENNIS (who wasn't there but appears in the mirror) and Charlie van de KERKHOVE, the sound engineer.

3

 During 1975, the group alternated concerts with rehearsals, improving their previous repertoire and working on new tunes. At the time, their material consisted of longer versions of the album songs, which were developing according to the mood of the musicians and the inspiration of Pascale, who liked performing singing improvisations. She used to juggle with syllables and onomatopoeia, either supplementing the instruments with her voice or through counterpoint, dazzling audiences by the ease and the dexterity of her imaginative and spontaneous singing.
 A little later, a keyboard player named Marc HOLLANDER appeared in the group's rehearsal room avenue des Chalets in Brussels, and played his Farfisa organ to the musicians who got convinced by his virtuoso qualities. A great connection developed between Marc and Daniel, due to their affinities and their common conception of music. A fan of European rock in the style of HENRY COW, MAGMA and ZAO, he also liked contemporary classical composers, such as BARTOK. He was fond of odd oriental and Arab rhythms and liked to include fever and eccentricity into his compositions. Although their personalities often clashed with each other, the common ground created good conditions for the elaboration of new themes. Pascale was increasingly establishing herself as an outstanding singer, yet she was only the interpreter of lyrics written by Daniel who remained the band's sole leader.

 During their German tours, Cos presented new songs such as "L'idiot Leon", with an introduction combining three wind instruments in counterpoint -Pascale's oboe, Daniel's Alto flute and Marc HOLLANDER's bass clarinet. The German press coverage insisted on Pascale's vocal qualities, which she modulated with  disconcerting ease, and on the wideness of her register. The journalists were greatly impressed by her instrumental singing, sometimes compared with that of Flora PURIM. By now, the group joined the management agency Odeon Theater which gathered the groups of the new ERA (Energie Fur Alle) label, EMBRYO, AMON DUUL II and AERA.
 Henri HEYMANS of EMI, who liked their music, signed the band so that their debut album ‘Postaeolian Train Robbery’ could receive another release with a new sleeve. As this album sold well, Henry HEYMANS offered the group to bring out a second opus, provided that it would be realized under the supervision of a renowned producer. The group immediately thought of Marc MOULIN, a highly skilled pianist and leader of PLACEBO, a jazz-rock outfit whose album had been voted the Belgian album of the year. He had produced albums for Philippe CATHERINE and was the presenter of ‘King Kong’ a New music/rock broadcast on the Belgian radio RTB while setting up his own label named Kamikaze.

4

  In July 1976, the group started recording at Studio Cathy, owned by the famous variety singer Marc ARYAN. This COS album was going to be the first one produced in that brand new studio. The whole session took 5 days to record and 2 days to mix.
Pascale SON had to record several vocal parts alone in a studio booth while she was used to sing among the musicians (the vocals of the first album were all taken live), but this certainly provided the album with a specific climate, with some kind of delicacy and retained emotion.
Daniel SCHELL played his Gibson Les Paul guitar, a double neck (6 and 12 strings) guitar and a Ramirez classical model. He also used several effects (saturation, a Wah-wah filter, etc) and modified the sounds of his guitar through an EMS converter to an EMS synthesiser which allowed him to double the melody.
Marc HOLLANDER managed to feel perfectly at ease in that artificial context and got on well with Marc MOULIN. He played his old Farfisa which sounds were treated by fuzz and Wah-wah devices and ended up in a Dynacord echo chamber that could reproduce the signal at variable speed. He also resorted to a Fender Rhodes piano, a saxophone, a bass clarinet and a derbouka.
Alain GOUTIER used the same effects on his Rickenbaker bass.
Many people were invited as guests: Marc MOULIN on mini-moog, Denis van HECKE on cello (for "Ixelles"), Pipou (the nickname by which Yves LACOMBLEZ, the author of PLASTIC BERTRAND's pseudo-punk hit "Ca plane pour moi", was known) and Jean Louis HAESEVOETS on percussion (Jean-Louis, the drummer of Charles LOOS jazz-rock group ABRAXIS, had replaced Willy MAZY for two concerts with COS).
COS second album established the band with their original, elaborate and sophisticated European music.