The Story so far...
1970's- FM radio, Alternative Magazine & 1st US Indie Distributor of Euro Rock
1980's- D.I.Y. LP + Cassette & CD label
1990's- Distribution via the WWW
2010- Eurock.com ~ Multimedia Podcasting, Interviews & Reviews.
Label & Artist Submissions Accepted
Exclusive Post Millennium Interviews
w/ Musicians & Producers
Pioneers of Euro Electronic
Space, Progressive, Experimental Music
Past ~ Present ~ Future!
A Special New Feature!
Subscribe & Keep Up with the
Latest New Releases
Interviews w/ CON, Cluster,
Damo, Mani & More...
& the Second Culture
A 30 Year History of Experimental Music
Electronic, Progressive & Space Rock
Interviews – Biographies – Reviews
7 X 10 ~ 714 Pages
250 Pictures ~
THE GOLDEN AGE
Eurock Magazine 1973-93
"The Millennium Edition"
Updated to the Year 2000
A Special Enhanced
CD that contains 40 minutes of
music by Japanese master musician Hiro Kawahara (of Heretic).
Plus CD-ROM session that includes 25 minutes of 16-bit audio w/
digitized video by Amon Düül II, Popol Vuh and Urban Sax,
the complete texts of all
original EUROCK Magazine back issues, rare photos, discographies
the Millennium issue EUROCK Magazine 2000
PC: Pentium 166
Windows 95/98/NT, 32 MB RAM
PowerPC, 166 MHz, OS 8, 32 MB RAM
Amon Duul 2
Ash Ra Tempel Live Paris
Baumann & Roedelius
in Studio '78
Embryo in Tangiers
Ralf & Florian - LIVE USA 1975
Bartos & Fleur - LIVE USA 1975
Tangerine Dream OHR
Uli Trepte Spacebox
Floh de Cologne
Manuel & Rosi
Tangerine Dream Virgin Era
Starry Eyed Girl
Din A Testbild
Etron Fou Leloublan
Annanka et Ivan -
Thierry Muller -
Andre Baldeck - Decko
Déficit des Années
Dominique Grimaud -
Monique Alba - Video
Patrick Vian - Red
Zazou et Racaille -
Jean Pascal Boffo -
Robert Frances -
Neuronium & Ashra
Neuronium & Vangelis
Michel Huygen -
Carlos Guirao -
Juan Crek & Victor
Nubla - Macromassa
Jordi Garcia - Suck
Carlos Alvarado - Via
Hiro Kawahara &
Far East Family Band
Magical Power Mako
Samla Mammas Manna
Anna Sjalv Tredje
Life would be a Mistake" ~
Eurock Book Events
My trip to France was more than I could
have ever imagined. The book events at Souffle Continu
Records and Les Frigos were a great experience in
sharing Eurock’s history and my personal stories with
both music lovers and some of the best French
experimental musicians over the past 20-30 years. Theo
and Bernard at Souffle were fantastic hosts. There I
also met Alain Lebon (of the great Soleil Zeuhl label)
and Marc Rozenberg of Eskaton (who are releasing a new
After that I had dinner at
the house of my long time friend/ musician Luc Marianni
along with Jacques Jeangerard (his latest collaborator)
on the fantastic album Numeralogique (Between Light &
Sound Waves/ 2), plus Andre Viaud (guitarist of
Pataphonie). It was great to sit around the table and
have a conversation about music (and other things
happening in the world today). Luc's wife Marie, a
teacher of English, was translating for hours late into
The next day was
The Les Frigos event which took place in
the Urban Sax studio space, which was otherworldly.
Attending were a host of French musicians, labels, music
fans and people from afar coming to listen, meet and
talk. Quad Sax played an amazing, surreal music set,
Benoit Garel screened his documentary film Reims 1974….
and my wonderful new friend Marie Marianni helped as
translator, helping me to share my Eurock stories with
everyone who attended. I also did a fascinating
interview with Gilbert Artman. Benoit filmed everything
professionally, including both the Souffle Continue and
Les Frigos events.
visited Yochk’o Seffer again, after our meeting our at
Giorgio Gomelsky's ZU Manifestival (1978) in NYC. Seeing
his homemade instruments, hearing a preview of his soon
to be released newly recorded album, sharing a great
Moroccan dinner and filming a multilingual interview
aided by Jean-Jacques Leca translation. It was a
I was fortunate as well to meet up with
and film an interview with Ilitch (aka, Thierry Muller)
who was one of the original Eurock cassette label
artists in 1980. We talked about music extensively and
did a short interview where we talked about his musical
history and how the music scene has changed today.
Following Paris, my oldest friends in
France Robert & Anny Frances who exported to me the
first French album in 1976 for US distribution (and
today run the major French concert promotion company FM
Productions) were fantastic hosts in the South of
France. Anny was a tour guide/ translator extraordinaire
and Robert acted as my agent at the 2015
Perpignan Book & Disque Fair. There, he introduced me to
the town mayor, as well as arranged interviews for me in
the local newspaper and to film an interview with one of
my favorite original French artists Pascal Comelade.
After that, it was off to Barcelona where
I had dinner with Victor Nubla (of Macromassa) and Eli
Gras (of the La Olla Express label). I also visited the
amazing Wah Wah Records where mainman Jordi Segura and I
discussed music and future collaborations.
biggest, most wonderful surprise was meeting Emmanuelle
Parrenin. After a brief encounter in Paris by
happenstance at the Eurock Souffle Continu event, she came
by happenstance to Barcelona at
the same time I did to rehearse with Pierre Bastien who
she now performs with live. We shared a great dinner,
filmed a short interview and she agreed as well to do a
written interview after I returned to the USA.
In the late 1970’s she disappeared from
the French scene for over 20 years after recording the
adventurous classic French folk album Maison Rose.
Here, I have the great pleasure of presenting that
written interview to you. Emmanuelle herself, her music
and her story are an example of the power music has to
convey magic as well as withstand the test of time and
create a deep emotional connection, which has the ability to heal both
the body and soul.
future, the French trip will be documented
in a Eurock film and a New Eurock book will be published
devoted to Urban Sax. Details will be forthcoming as the
projects unfold. Stay tuned to this website as well as
my personal Facebook page for more information.
[Photo: Philippe Lebruman]
The music of
Emmanuelle Parrenin ranks
with the best International female folk artists even
though she is relatively unknown, her music apart from
the others for a couple of reasons. She has worked with
several of the great French folk musical pioneers past,
and present, while releasing to date only three albums
of original music over 40 years, along with a couple
early compilations of traditional folk releases.
The first real example
of her personalized music style was the collaborative
which transcended the boundaries of French folk music
when released in 1976. It combined a bit of that
traditional song format, adding East Indian
instrumentals, vocal incantations, her hurdy-gurdy, and
Her classic first solo
was one of the most exceptional experimental recordings
produced in 1977. At that time, France was one of the
most experimental music scenes around the globe that
Eurock has documented during the past 40 years.
The house where that
album was conceived inspired the album title.
Emmanuelle’s hurdy-gurdy and the various players, which
included Bruno Menny and Didier Malherbe, conjured up a
magical, mystical fairytale recording that overflows
with fantastical instrumental arrangements and
Emmanuelle’s beautiful vocals wafting in and out of an
ethereal tapestry of exotic instruments.
A few years after the
album was released, Emmanuelle disappeared from the
recording studio for over 34 years. You can read about
her amazing life journey in the recent Eurock interview
we arranged for during our miraculous meeting in France.
It wasn’t until 2011
that Emmanuelle’s third album
was released. It was also named after the house where it
was recorded (pictured at the top). Again, she had a top
rate cast of collaborators including Vincent Mougel
(keyboards), Christian Sotomayor (instrumental
treatments) & Flop (co-writer, various other
The music is similar in
spirit, but instrumentally more sophisticated, and
eclectic than her earlier work.
voice is also richer, her vocals more whimsical.
Electronics and treated instruments create a mystical
atmosphere filled with delicate guitars, piano,
percussives and jazz influences. The tracks vary in
sound and style combining into a vivid palate of
intricate arrangements & instrumental tone colors.
album opener, is a pulsing instrumental featuring winds,
synths and sprinkles of percussives scattered throughout
with Emmanuelle incanting a hypnotic mantra that blends
into the sound perfectly.
track, 3 is a sublime calypso influenced tune with
strings and ethnic percussives complimenting her sweet
vocals and lilting harmonies to perfection.
track 8, begins as a warm synthesizer drone with
Emmanuelle reciting a short poem as piano and percussion
lay down a subtle jazz rhythm. Interwoven into the mix
are various synthetics and treatments creating a mélange
of sound conjuring up a spectral folk reincarnation of
the Velvet Underground.
track 9, is a
warm ambient pastoral lament literally shimmering with
beautiful melancholy as synth and e-piano weep teardrops
of beautiful watercolor sound.
track 12 closing the album is 10:29 of worldly
experimental folk fusion that transcends categorization. Its melodic theme builds
driven by a steady ethnic percussive backbeat as piano
melodies drift in and out of the mix featuring a variety
of synthetic textures and embellishments. Emmanuelle’s
evocative vocals cast a hypnotic spell until about 2/3
of the way through when the music begins to devolve. At
that point, the sound plunges headlong into another
Velvet’s-like dirge, an orgasmic shrieking sonic melt
down, which turns into a drone before fading out to
bring this amazing album to conclusion.
is in the mixing stage at this point - let’s hope for
that in 2016. Later in 2016, Souffle Continu Records is
planning to do a vinyl reissue of
that will include a 7” single of previously unreleased
music from that album's original session. If the stars
align and the music gods of music are willing,
Emmanuelle also hopes to release a
box set of all three albums and perhaps come to the USA
for a few concerts. Magic is an overused term today, but
the music Emmanuelle makes truly does contain the
essence of such power.
Maison Cube LIVE @
On my recent trip to France promoting
the new Eurock book and meeting many of my long time
French friends I've been in contact with for
decades, one of the most amazing moments of
happenstance in my life occurred – I met Emmanuelle
Parrenin in Paris. Her Maison Rose was one of my
favorite albums from the French music scene during
the 1970's, but I'd not heard anything about here
since that time and often wondered what had
happened. Later due to another quirk of fate at the
end of the trip, we were again able to meet up again in
Barcelona and film a short interview.
I was back in the USA, I sent her some more
extensive questions. I think you will find her story is not only a magical story about her
personally and music, but also a true-life example of how
music has power that can transform and enlighten
peoples lives and heal you.
What was your first exposure to
I could say I was born into music. I listened to a
lot of music at home- my father was a musician- and
the first artist I listened to was Bella Bartok. My
preschool teacher asked us hey kids, what is your
favorite song or artist? and was a bit surprised
when I said Bella Bartok! I used to reproduce
what I had heard from my father's rehearsals - Quatour
by Debussy or Ravel- with two fingers on the piano.
The first records I bought were What I Say by Ray
Charles and Porgy and Bess by Miles Davis.
In addition, at 14 years old I had chance to follow
the Yardbirds on tour. I was an exchange student in
London and the daughter of my hosting family was
Keith Relf's girlfriend. Eric Clapton chatted me
up, but I was still wearing bobby socks and I was
far from all that.
Why did you decide to make a career
I never thought I would make a career in music.
When I was a kid, I was singing all the time and was
teaching songs to everyone. My learning was
instinctive and secret. As a teenager, I had learnt
guitar and I often went to American Church & Center
where they sometimes held Hootenannies. That's where
I saw a hurdy-gurdy and other traditional
instruments for the first time. They me hypnotized right
away and I felt like an unfolding mystery was
You made a few collaboration
albums in the beginning, was there one of those
albums you feel was your most interesting early
I often went to another place, I can't remember the
name, at Saint Germain des Prés, where some folk
musicians used to play. That's where I met Philippe
Fromont who was playing violin and Gabriel Yacoub
(founder of Malicorne), Youra Marcus who was playing
banjo, and Bill Deraime, among many others. I
started to work with Philippe Fromont on an album
which became Chateau dans les Nuages, along
with Claude Lefebvre who was playing acoustic bass
and guitar. It's interesting to remember, and was
interesting to live, because I think it is my first
non-traditional work. We were getting out of
traditional music to create our own universe.
What was the inspiration for your
fascinating solo album Maison Rose?
I started to work on Maison
Rose when I was in Burgundy with a dear
friend, Christian Leroi-Gourhan, who was ill. I
started to compose on his 2-track Revox, playing the
music that I was hearing deep inside me. I was
playing dulcimer all day long, we were living in a
small house, with my little kid, and I think, more
than a person or an event, it was this entire
atmosphere, which inspired me in the making of this
How/ Where did you record that album?
I met Bruno Menny, who was a sound engineer, at
Acousti Studio. My music inspired him and we decided
to work together. We went to settle in the
countryside, in Normandy, at Studio Frémontel. He
was working there, recording artists came there
to record from all over the
world. When there were no other recording sessions, we
both used this place to begin our musical adventure and
that's when Maison Rose was born.
I believe after that you also got
involved with contemporary dance how did that come
After the release of Maison Rose
Carolyn Carlson's dancers contacted me and asked me
to make music for their ballets. This was sort
of an act serendipity because when I was a kid, I
passed a dancing contest and was chosen by Serge
Lifar to enter the Paris Opera and become a ballet
student, but my mother didn't allow me to. So when
this company, years after, contacted me to make the
music, I said OK, but also asked to dance with
them in the ballet. I started to practice my dancing 12
hours a day, and played live and recorded a sound
track. I loved these years of dancing,
when dance and music was my life and I had the
chance to work with people who felt the same way.
Then there was a long silence from
you musically, what happened?
Silence yes, total silence! I had lost my hearing as
a consequence of an assault. I went to the Alpes
and lived in a little chalet to cure myself, by
myself, with only my voice and my instruments.
Doctors said I would never recover, but I never
believed that was true. I played my music and sung
along with it all day for a very long time. Slowly
I could feel the music enter my
body, then after some time my hearing did come back
to me. So I left my chalet and I found a little house along le Lac du
Bourget where I settled. It was weird, but this
old-fashioned house was exactly the same as the one
drawn in Maison Rose cover. Then I worked
for 10-years in hospitals, mainly with kids, using
the music that had cured me, to help them. I created a solo
show for kids, called Belle et Lurette, which I
played in many places and settings, in casinos and
In 2011, you recorded a new album
Maison Cube, how did you come up with that
The Internet did a brilliant job while I was in the
mountains. And, while for me Maison Rose
was part of the past, it was listened to by
young Parisian musicians, including Francisco Lopez
(Flop) the co-founder of the label Les Disques Bien.
this album at a dinner at Vincent Segal's place and
asked him if I was still active. Vincent knew my son
Matthieu, who is playing blues music as Mr. Bo Weavil. I
was feeling like making an album, I had some music,
but didn't feel like writing lyrics so I looked for
a lyricist. I was invited by Flop to a concert, and
that's how the story began. After 5 days of
working, we went to a house in forest de Fontainebleau,
who was an architectural place from the 1960's.
Every room of this house was a cube dropped off in
place by a
crane. This house had been vandalized and I, along with
some other friends had formed a chain to make it
How was the music on that album
different from Maison Rose?
Thirty-four years had gone by, and I was not the
same person. I really felt like building something
new, I like progressing like I am walking on a high
wire and I had met this young musical troop, Vincent
Mougel (aka, KidsareDead), Etienne Jaumet (Zombie
Zombie). They gave me new inspiration, I played live
with Etienne at his concerts (he plays analog
synths), I was playing hurdy-gurdy and that sounded
like drone music. With Vincent and drummer Cristian
Sotomayor, the sound was more like rock music. In addition, at that
time I was also playing pure acoustic concerts. I
guess all those tone colours and influences can be felt
in the music of Maison
Since that album, you collaborated
live with another French experimental musician Pierre
Bastien, have you played on any of his albums?
After the release of Maison Cube, I
collaborated live with some musicians like Jandek,
French singer Bertrand Belin, harpist Serafina
Steer, Irish singer Declan De Barra, musicians from
different horizons. I was introduced to Pierre's
music by a friend and I really loved having an
adventure in his universe, I kept that in my mind.
This friend knew Pierre and proposed that we meet.
What was said was done. Pierre came to see me and
discovered all my traditional instruments, and he
felt like home. He had brought some machines with
him and I looked for my instruments that would fit with
musically. After that I went to his place for a rehearsal
session and my instruments blended with his
electronic machine and
instruments. That's how our project MOTUS began to
develop its own life and sound. We haven't recorded
anything yet because it is still a work in the process
of creation. A
recording is something etched in time, and we both
feel like exploring the sound further before
engraving something and creating a physical object.
It has been 4 years since Maison
Cube; do you have plans to record a new album?
The next album, Maison Vide is ready;
it is again a story of a Maison. The idea would be
to release the trilogy on vinyl, with a booklet
(where you could write something Archie!). I know
it may sound utopian when you look at the music
marketplace today, but I really would love to release this
trilogy. Before that, my first album Maison
Rose will be reissued next spring by Souffle
Continu Records, re-mastered with an extra 7" of unreleased music from that time.
Will it be similar in style to the
other albums or a new sound?
was created with the same instrumentation as
Maison Rose and Maison Cube. I
began to create this music while I was still in the
house already mentioned in forest de Fontainebleau. My
life and inspiration changed less in the last four
years than it did in thirty-four. This album will be
more instrumental and the atmosphere, from that
point of view, will make people think of Maison Rose.
However, I'm glad to say that I think we succeeded
in creating music previously unheard on either of my
albums, it's like a new colour.
Do you have any idea when it will be
released, or what label will release it yet?
I really have a lot of affection for Disques Bien
Troop, the label that released Maison Cube.
To release and to sell an album today sounds utopian for everyone, artists, labels, shops. The
album is not mastered and pressed yet; I guess we
will see when it's done, which label wants to take a
[Photo: Phil Taka1985]
Music & the Second Culture Crash
aim of the underground is the creation of a
Second Culture, one which will not be dependent
on the official channels of communication, social
recognition and the hierarchy of values laid down by
the official channels of the establishment. A
culture that helps those who embrace it rid
themselves of skepticism, which says nothing can be
done when those who make who make the culture desire
little for themselves and much for
Jirous/ Plastic People of the Universe
has indeed been a Revolution carried out in both
Music & Culture in the past 50 years. For a time
during the 1960’s, artists outside the mainstream
made music that inspired people to dream of a better
life for all and to keep hope alive. You can read
what various writers have to say about how music
shaped their lives and the changes, which have
affected both the culture and music today. Then come
to your own conclusions.
new Eurock book Music & the Second Culture
Crash continues the examination of music’s
impact on culture and society featuring 60 articles
about the ways music now has changed in terms of
listening, production, marketing and importance in
people’s lives. After reading, you can decide for
yourself who has won the battle and what has been
lost in the cultural war music has played a large
part in shaping the last 50 years.
& White Photo Edition
Culture: Recordings 1971 - 1983
Set from Vinyl On Demand, Edition of just 300 copies
An unparalleled showcase of American Cassette
Culture: Recordings 1971 - 1983 presenting
tape releases by K. Leimer, Don Slepian, Steve
Roach, Marc Barreca, Anode (Productions), Young
Scientist, Ken Moore, and Galen, available on vinyl
for the first time.
As Vinyl-on-Demand have almost exhausted the
reserves of '80s European tape music, Frank Maier's
label turns its attentions to America during the
same era in order to highlight the similarities and
difference between the two scenes and their double
refraction of influence upon each other.
It pays particular focus to Archie Patterson's
Eurock Magazine & Distribution, who distributed
and/or issued many of the works contained in this
box. Besides running Eurock, Patterson also hosted
an influential radio show playing European rock
music in the early '70s, from where he famously
hooked Michael Mann up with Tangerine Dream's OST
There's a remarkable breadth and quality to the
music inside, fathoming the spiraling synthlines and
4th world proto-electro of Steve Roach's Now (1982),
beside an enchanted set of early, ambient Kerry
Leimer albums circa 1978-1979; the space rock of
Young Scientists; abstract drone excursions from
Anode Productions; personalized ambient head music
from Marc Barreca.
V-O-D continues to amaze us...
For More INFO:
in the Rock & Roll
Hall of Fame
In July 2013, Jennie Thomas, Head
Archivist for the Museum & Archives of the R&R Hall
of Fame contacted me. She asked if I would like to
include my work created over the past 40-years of
doing Eurock to their Archives. I was stunned and
amazed, as well as honored they asked me. To date I
have sent them copies of all the issues of Eurock
Magazine, a complete set of Eurock Distribution
Catalogs, the 1st book, CD-ROM, the brand new book
and other related materials. More will follow. I am
thrilled to add to the museums historical
archives as well
interviews, reviews and biographical features of the
work of artists I wrote about and documented over
the years. To celebrate I just published a brand new
book with updated Interviews, archival photos &
contemporary insights into Music & Culture.
40 Years of Eurock
1950 Rockin' to the Radio