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CONCERTS
18/02/2026
It It Anita @ Le Botanique
18/02/2026
Zea @ Les Ateliers Claus
21/02/2026
Tatsuya, Yoshida @ Magasin 4
21/02/2026
Ruins Alone @ Magasin 4
27/02/2026
Louca, Maurice @ L'Ancienne Belgique
28/02/2026
Mmuurr @ Le Laboratoire
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NEWS
13/02/2026
Point Line Plane (Skin Graft Records / US) is back on the tracks - CD available.
12/02/2026
We're taking preoerder for Aymeric Leroy's book to be published on Cuneiform Records.
04/02/2026
New releases uploaded !
07/01/2026
Happy New Year, folks !
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DESCRIPTION
ART ZOYD
Symphonie pour le jour où brûleront les Cités

Label : Sub Rosa
Year : 2011
Format : LP
Style : Rock / Progressive Rock
Availability : Out of stock


Description :This cult album was no more available since years. Re-released with a new artwork and additional tracks.

In 1976, a self-released LP by Art Zoyd appeared in Belgian record stores. At the time, nobody knew Symphonie Pour le Jour où Brûleront les Cités (Symphony for the Day Cities Will Burn) would be the first of many albums from this strange chamber progressive rock outfit. All the ingredients of Art Zoyd's sound for its first decade are here: unusual acoustic instrumentation for a rock band (violin, cello, piano, and trumpet, plus guitar, bass, and percussion), dark and mysterious atmospheres recalling France's Magma and foretelling Univers Zero (formed by Art Zoyd percussionist Daniel Denis), and complex pieces owing as much to contemporary classical as to progressive rock. The lineup for this first offering included Patricia Dallio (piano), Alain Eckert (guitar, vocals), Gérard Hourbette (violin), Jean-Pierre Soarez (trumpet, percussion), and Thierry Zaboïtzeff (bass, cello, vocals).

The album is split in two. First is Symphonie Pour le Jour où Brûleront les Cités in three parts, an apocalyptic work opening with mad laughter, a vision of the end of the world with percussion clashing, frenetic violin motifs, and the trumpet from Judgment Day. Part one, Brigades Spéciales, is the most striking moment of the album. Then comes Deux Images de la Cité Imbécile ('Two Pictures of the Stupid City'), two movements leaning more toward some warped chamber rock conception of the burlesque, especially on Scènes de Carnaval.

For a first exposition, Symphonie Pour le Jour où Brûleront les Cités was as impressive as could be and earned the band an immediate cult following. (John Bush)

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