Reines D'Angleterre - Les Comores

“Ghédalia Tazartès, born in Paris 1947 to Turkish parents, raised in the Bois de Vincennes area of France and as much affected by Beethoven as the Sex Pistols of which he has referred to as 'the last great pop band'. Tazartès found himself in the 20th Century, that loose canon of ideological leap frog where the individual of a particular temperament could find their voice amongst the increasingly homogenized treacle which garnished the mass. The acquisition of a tape recorder helped him find comfort in creativity and with some encouragement from French experimental musician and writer Michel Chion saw him record of a series of records that sit high in the glorious pantheon of 'fucked music of the 20th Century': 'Diasporas', 'Tazartès' Transports', 'Une ?clipse Totale De Soleil' and 'Tazartès' all resound in a whirlpool of mind dissecting outsider audio curiousity. This is no Tazartès record, this is Reines D'Angleterre (Queens of England). A band made up of Ghédalia Tazartès and a couple of hyperactive young Parisians upstarts Jo Tanz and El g. Both of these characters are steeped in subversive operations covering grounds of psych folk and 'toon-psych' films (El g)
and theTanzprocesz label (Jo Tanz). They also both perform under the moniker of Opera Mort and have made work under the name of Lö Jengi , a recording witness to Reines D'Angleterre colliding with Finish artists Islaja, Amon Dude and The Hoopo.  To the public, they first surfaced playing a live set at the esteemed Colour out of Space festival in Brighton, a welcoming bed for all idiophonics. Reines D'Angleterre made friends with a damaged conglomeration of live concrete, sound poetry, faux ethnicity and sincere eccentricity. Subsequent shows allowed the outfit to explore and refine their discovered terrain as it unfolded. A recording session resulted in the unique concoction 'Les Comores' (a reference to the island off the eastern coast of Africa which France still administers as an 'overseas collectivity').  Reines D'Angleterre is comprised of inexplicable ethnic residue, the prince of all taste, a stripped back smear on the blight of genre. Reines D'Angleterre, may your queen take such birth. The music of Reines D'Angleterre feasts on duality: chaos and order, narrative and anti narrative, erection and destruction, dread and comedy. The voice rides in tandem with electronics: cracked beaten, weathered and bruised. It’s a gloriously unstable affair but not one devoid of emotion as these merry lads invoke the question once posed by Rev”. – Mark Harwood

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