In its day one of the leading Belgium's cassette labels was Insane Music. They released a whole bunch of compilations, 'Insane Music For Insane People', but also thematic compilations, such 'Noisy But Chic' or 'Sexy But Chic', the latter dedicated to Samantha Fox (everybody ideal beautiful woman, then?). If that wasn't enough label owner Alain Neffe played in a bunch of bands, starting with the 70s cosmic music of I Scream, to the 80s incarnations of Pseudo Code, Human Flesh, Cortex, Bene Gesserit, Subject and later of Chopstick Sisters. Each of these bands had a specific concept. Cortex was all about atmospheric electronic music with French poetry (recently re-issued on a 2CD set by Plinkity Plonk), Pseudo Code's own unique take on industrial music (with Sub Rosa founder Guy Marc Hinant), Human Flesh being an open ended music-by-mail collaboration or the pure pop of Subject. Bene Gesserit is Ghola B (= Alain Neffe) and Benedict G (= Nadine Bal, his wife) and perhaps the most difficult to place Insane Music band, but along Human Flesh and Pseudo Code the best known one.
In the last three years many of the older music has been re-issued, mainly by EE Tapes, Onderstroom Records and Plinkity Plonk. Bene Gesserit now joins with a reissue of their 1985 LP on Insane Music, with as a bonus their 1982 7" and their side of a split 7" with Lelu/lu's from 1986. Like said, I always found Bene Gesserit the most difficult to place. Was it pop music? Not really. Electronic for sure, but then all Insane bands were electronic. Neffe's playing in Bene Gesserit is surely pop like, but always has that added twist of weirdness, almost in a dada-like manner. Bal's vocals add to the dada-like aspect of the music, or perhaps vaudeville, surreal… maybe like an Ensor painting? I didn't hear this LP in many years, and I am quite surprised it sounds more fragmented than I remberered. Maybe I am more open to this kind of music now? Very nice stuff indeed.
(FdW) Vital Weekly number 822 (03-2012)

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Ah, the 1980s. Everyone was allowed to create any kind of music for anyone who was interested, because recording equipment, small synthesizers, rhythm boxes and other electronic gadgets suddenly was a lot cheaper. And every musical whim was allowed... Here is a prime example of what was going on in the 1980s underground. Bene Gesserit was in the front of the international cassette movement. Instrumentalist Alain Neffe, aka. B. GHoLa, had established his Insane Music Contact and released quite a few volumes of Insane Music For Insane People and Home-Made Music For-Home Made People with contributions from insane and home-made people all over Europe and some overseas, too. Recordings by Bene Gesserit were included on most of the volumes, but the duo had greater ambitions. Here is a relaunch on CD of Bene Gesserit's first LP, originally released by Alain himself on his Insane label in 1985 with three bonus tracks off Bene Gesserit's first seven inch vinyl platter from 1982 and BG's contribution to a split single from 1986. You can read about Alain's, Insane's and the band's origins and development in an interview he gave to Luna Kafé a few years back.
The music of the album reflects its title. It can be both happy, perverse, joyful and includes cries and other vocal gambols. And once you get into it, Bene Gesserit's music may turn you high. But I'm not convinced about the cynical part. On the contrary, the happy cries and other notions sound completely non-cynical; playful, even naïve occasionally. Maybe the inclusion of "La Brabançonne", the Belgian national anthem, being tortured, might sound cynical to some... Otherwise a few of the 18 songs in all included here, might fit in the 1980s overground synth-pop-category. But the whims go further than that; here is quite a lot of experimental stuff, music based on real strings, flutes or saxophone. And the vocal excesses of front woman BeNeDiCT G., aka Nadine Bal, exceed every limit.
Three of the songs off the original LP made it to the previous archive album of Bene Gesserit released by EE Tapes, Live In Aachen. Two of them are about the catchiest here, and the closest to synth-pop. "Tonight" is potential hit material, melodic, funny and a bit melancholic, English lyrics, but with a French-Belgian feel all the same. "Walt's Waltz" is another melancholic ditty with an insane vocal touch. "Désirs-Délires" was labelled hysteric sort of avant garde-minimalism in the Aachen review and sounds like that in the studio environment, too. The short "Strange Strangers (In The Night)" belongs to the same category - only backwards - whereas "Pravda" also inhibits vocal madness, coupled with sweet-melancholic synth. The vocals of the remaining songs are closer to sanity, but some are compensated with instrumental craziness instead, like "Existentialisme" with strange noises, occasional saxophone belches, hectic rhythm box and synths. A couple of songs have more than a touch of east Asia. "Japanese Song" sounds both authoritarian and the opposite, with vocoder effects and all, until it's rounded off with denial: 'This is not a Japanese song!'... On the other hand, the overall feel of "No Rule For A Dream: Bali" is more childish and innocent than ethnic. There's an instrumental here as well, nice and melodic, but with sounds from someone preparing a meal, called "Kitchen Music (For Kitchen People)", obviously! A sort of domestic cousin of Beach Boys' carpenter tune "Workshop", off Smile. The remaining tracks might be characterised somewhere between synth-pop and experimental efforts. "Nuit Et Chuchotements" is in a class of its own with repetitive real strings (an Indian instrument called tarang), real percussion, close whispers and distant intense howls and growls. "Clear Blue Smile" also stands out with sharp rhythms, ditto synth-blips and angelic whispers and choruses hovering high in the sky.
The bonus songs follow the same synth-pop-path-with-a-twist as most of the LP tracks. The production of the songs of the LP sounds a little bit fresher than the two songs off the 1982 debut 7 inch single "Kidnapping" and "Orchestral Story", whereas the occasional grand "Sahid Bahey" off the 1986 single sounds even fresher.
When I received this disc, I was afraid it might sound outdated. Well, it's without any doubt a creation of the 1980s, but outdated, no way! The songs, arrangements and production have stood the test of time and listening to the songs today, puts me in as joyous, high, happy and perverse moods as 26 years ago. Another most welcomed album from EE Tapes then. Limited to 500 copies, so don't wait too long. And I guess there are enough Bene Gesserit recordings in the Insane vaults, maybe including fresh recordings from the 2010s, too, to keep Eriek at EET busy and the rest of us on the alert for several years to come.
Luna Kafé - Full Moon 190 (03-2012)

In the Insane Music family of bands I rank Pseudo Code to be my absolute favorite band, next to Human Flesh and Cortex (obviously). Its not easy to say what I like about Pseudo Code, but its probably that fine combination of electronic music, experiment and still, at times, a song like structure. Its one of those bands I wouldn't have minded in releasing a multiple CD box myself with their complete works. Yet some of that has recently come to light, such as the re-issue of the LP 'Europa' on CD, which also included their first two 7"s, from 1980 and 1981. Now, thirty years later its time for their third 7", aptly called 'The Third EP', and many thanks to the continuing efforts of EE Tapes to release music from Insane Music bands. Pseudo Code play emotional music. Held together by the simple tick of a rhythm machine, synthesizer and organ (all played by Alain Neffe), the pianet of Guy Marc Hinant and the howling high voice of Xavier S, they go through all emotions, from the almost happy 'Can I Kiss You' to the sad faraway version 'Far Away From My Own Land' (also in a different version on their first 7"), or the mellow 'Baby Burn Out'. 'Dance, Dance On The Radio' we may see as a short tribute to Joy Division's 'Transmission', in a one minute and five seconds summing it up. Now, we don't get Peter Hook to do that, are we? Excellent 7".
Is there, still, more Pseudo Code?
(FdW) Vital Weekly number 813 (01-2012)

“Class” of ‘81
4 songs from the legendary Belgian cult combo Pseudo Code, NEVER released before, now collected on “The Third EP”! Sensible readers know what to do, RIGHT NOW! For all others: the extended version of the review …
Song 1, the first mix of “Can I Kiss You ?”, is driven by the insane squeals of Xavier S. and the strange/peculiar bleeps and sounds from a Casio VL-Tone and other fine instruments. “Baby Burn Out” pukes “eighties” and crying babies all over your shoes and all of this in an elegant and harmonic way. “Far Away From My Own Land” takes it easy and is probably the most beautiful and exotic song on “The Third EP”: something distant, in an Alain Neffe costume, the stuff that dreams are made off, warm, bright and sunny. A longing perhaps, for at least something else and probably something MORE and BETTER. Not many words, loads of content and emotion, a lot to like! “Dance, Dance On The Radio” lasts 1 minute and 5 seconds and is one of the weirdest and vague “Transmission”-adaptations I’ve ever heard … “Transmission” stripped to its bare “dissonant” essence.
Pseudo Code offers food for mind and soul, demands an effort from its listeners and experiments on high and melodic/emotional level! “The Third EP”, as you already understand, is a beautifully packaged MUST HAVE, limited to 250 copies. Order now!
Thank You EE Tapes, once more!
Didier PIETERS Peek-a-boo-magazine (01/2012)

JUNE … in winter.
A sunny Sunday afternoon in winter, lit fireplace, snow in the garden, a cup of hot thee, home baked cookies, Christmas around the corner and completing the picture … JUNE11. “The Temple Of Wood” is that kind of record! Yes … life CAN be beautiful.
Poems from Heinrich Heine, translated and processed into a song (Like A Flower), a track based on work from Schubert (“piano trio in Eb, op. 100 - 2nd movement”) … Nice touches for music and literature students but nothing more as far as I am concerned. Playing around with Art does not necessarily lead to superior Quality.
What does? Good taste, talent and surrounding yourself with skilled and fine musicians! Jan Van den Broeke (ex THE MISZ) has good taste and talent and seemingly knows all the right people! Their names? Katleen De Vos, Mieke Versyp, Drita Kotaji, Mary Osunbor, Mirco Waem, Miguel Frasca, Jacob d’ Hollander, Stefan Thaens and Kris Laukens. Together they have turned Jan Van den Broeke’s material into an admirable temple where “sensitive” people can enjoy the quietness. “The Temple Of Wood” is a beautiful, elegant and refined CD, worth your money and attention. It offers 10 delicate songs, vulnerable and fluid …
Guitar, bandoneon, piano, clarinet, sax, viola, violin, and different voices and languages (English, French and Spanish) offer master painter Jan Van den Broeke a rich instrumental and vocal palette, which allows him to create an interesting, warm and varied singer-songwriters album.
One question... Does “The Temple Of Wood” really need a Leonard Cohen cover? I don’t think so. The work of Jan Van den Broeke himself is superior in any way.
“The Temple Of Wood” was recorded in Belgium France and Argentina and released on the first of November 2011. It’s limited to 300 copies. The first 75 copies are hand-numbered and extra photographs are added.
Another EE Tapes Quality product!
Didier PIETERS Peek A Boo Magazine 21/11/2011

The Belgian project June 11 released their debut CD in 2008. “The Temple Of Wood” was released during the 2nd part of 2011 and according to me it’s the most surprising CD I’ve ever heard on EE Tapes. I fully enjoyed “The Temple Of Wood”, which is a sweet voyage throughout different musical horizons and influences.
It’s a mix of jazzy passages, cabaret music, lullabies and a few South-American influences (the album was partly written in Argentina) like tango reminiscences. The vocals are sometimes reminding me of living pioneers like Nick Cave and Leonard Cohen. So I wasn’t really surprised to hear a cover of the Cohen song “You Know Who I Am.” It was reworked with a rather tango-inspired touch. But other songs are quite Leonard Cohen as well and I here especially refer to the beautiful “Everybody Wants The Same Thing”. Quite comparable and still a bit Cave-like is the more ballad-like “The Art Of Losing”.
“The Temple Of wood” also moves on the edge of a real lullaby on the French sung “Ce Dimanche”. And there are more surprises on this album as well. There is the more classical sounding “The Forces” inspired by the music of Franz Schubert and I also want to mention the piano ballad “The Jar”.
No doubt about it, this album is a little jewel full of sensibility and musical knowledge.
DP:8/9)DP SIDE-LINE (25 feb. 2012)

The (Almost) Insanely Happy EP” is number 4 on the list of impressive EE Tapes 7”s. Other goodies: “The Insanely Happy EP” (sold out), “THE EE EP” (The Misz, sold out) and the sublime Nostalgie éternelle EP which is actually still available. Intelligent people know what to do, RIGHT NOW!
I, for one, was very enthusiastic when I saw the bands on this new EP: Human Dance and Subject, both Belgian eighties bands, both Alain Neffe projects. Why the enthusiasm? Because of their breathtaking earlier contributions to “The Insanely Happy EP”!
“The (Almost) Insanely Happy EP” is limited to 250 copies. The first 85 copies are hand-numbered and come with 2 extra photographs from a series of 9 “could have been covers”. The artwork is, as usual, elegant and intriguing.
Expect six songs, 3 Human Dance tracks and 3 Subject tracks. The first highlight and my personal favourite: the instrumental “Magikal Mystery Sour” from Human Dance, referring to the world’s most overrated band ever? The B-side continues with high quality tracks, rhythmical and always with an insane touch …
Elegant, breathtaking, sophisticated … Words not to be used lightly, but fitting the occasion once more! Out on September 1st.
On to number five! Let’s hope for another exclusive grab in the 80’s vaults of Alain Neffe & Co.
Godspeed, EE Tapes!
Didier PIETERS Peek-a-boo magazine 18/09/2011
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Yet another release from EE Tapes with music involving Alain Neffe of the Insane label, recorded in the 1980s. It's a thick seven inch EP running at about 33,3 rpm., the fourth of its kind by the tapes-label, with three songs by each band; half of them previously unreleased. Apart from Alain (keyboards, flute), Daniel Malempré (excellent guitarist of Human Flesh, M.A.L., Bene Gesserit help-out etc.) is present on five of the six tracks. If you're into tunes dominated by 1980s flavoured rhythm-box and keyboards somewhat of the underground kind, look no further. But it's more than just that.
Subject starts the show with the instrumental "Shitting On Top Of The World". Melodic, catchy, danceable, even a bit disco-flavoured guitar in there! Very funny, nice, happy and melodic apart from a short electronic desert storm middle part. "Monotone" by the same band/project is not that monotonous as might be expected despite the short repetitive bass riff by Daniel. The half-industrial Casio organ keep this track on track, somewhat gliding in thin air. "The Desert Call (Short Version)" by Human Dance is also danceable, I suspect, female French sounding singer and spoken words (or is it Arabic or what?). Fascinating... The second song of the EP is the closing "L'Ultima Storia" by Subject. Even more ethnic flavoured than the former, in a nice pop'ish way, not far from some desert, I'd guess. Doesn't seem particularly happy, but the most spine-chilling of the lot.
Let's move to the homage section of the platter. "Jethro, C'Est Trop!!" by Human Dance has flute all over it. A quite poppy and (almost) insanely happy instrumental nod towards Jethro Tull, despite the rhythm-box and synthesized sounds. "Magikal Hystery Sour (The Beatles Were Not So Bad After All!!)", also by Human Dance, seems more guitar based than the others of the EP. Still, the happy-melancholic organ dominates. Sounds a bit like one of the most sane and pop-oriented songs by Bene Gesserit and seems to have little to do with the Beatles' song (or album, or TV movie) of almost the same name, except some psychedelic backwards effects towards the end.
This EP doesn't seem neither quite as insane nor as happy as the title suggests. It you'd like a - to some extent - light-weight introduction to the musical universe of Alain Neffe and co. this is it. I've seldom heard a compilation of Insane artists as pop oriented, hummable and even danceable. At the same time it's without any doubt part of the experimental 1980s underground. Hard to pick any favourites here. All six tracks are well worth looking into, though I have a weak spot for "Magikal Hystery Sour" that was also represented on the easy side of an Insane LP that I distributed some copies of in Norway twentysomething years ago. Time's passing by, but the music of the Insane label seem to be released at least as frequent nowadays as back in the 80s. A proof that the quality and appeal still is there. Only 250 copies available of this platter. So hurry!
Lunakafe.com: Full Moon 184 (9-12-11)

The (Almost) Insanely Happy EP” is number 4 on the list of impressive EE Tapes 7”s. Other goodies: “The Insanely Happy EP” (sold out), “THE EE EP” (The Misz, sold out) and the sublime Nostalgie éternelle EP which is actually still available. Intelligent people know what to do, RIGHT NOW!
I, for one, was very enthusiastic when I saw the bands on this new EP: Human Dance and Subject, both Belgian eighties bands, both Alain Neffe projects. Why the enthusiasm? Because of their breathtaking earlier contributions to “The Insanely Happy EP”!
“The (Almost) Insanely Happy EP” is limited to 250 copies. The first 85 copies are hand-numbered and come with 2 extra photographs from a series of 9 “could have been covers”. The artwork is, as usual, elegant and intriguing.
Expect six songs, 3 Human Dance tracks and 3 Subject tracks. The first highlight and my personal favourite: the instrumental “Magikal Mystery Sour” from Human Dance, referring to the world’s most overrated band ever? The B-side continues with high quality tracks, rhythmical and always with an insane touch …
Elegant, breathtaking, sophisticated … Words not to be used lightly, but fitting the occasion once more! Out on September 1st.
On to number five! Let’s hope for another exclusive grab in the 80’s vaults of Alain Neffe & Co.
Godspeed, EE Tapes!
Didier PIETERS Peek-a-boo magazine 18/09/2011
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Yet another release from EE Tapes with music involving Alain Neffe of the Insane label, recorded in the 1980s. It's a thick seven inch EP running at about 33,3 rpm., the fourth of its kind by the tapes-label, with three songs by each band; half of them previously unreleased. Apart from Alain (keyboards, flute), Daniel Malempré (excellent guitarist of Human Flesh, M.A.L., Bene Gesserit help-out etc.) is present on five of the six tracks. If you're into tunes dominated by 1980s flavoured rhythm-box and keyboards somewhat of the underground kind, look no further. But it's more than just that.
Subject starts the show with the instrumental "Shitting On Top Of The World". Melodic, catchy, danceable, even a bit disco-flavoured guitar in there! Very funny, nice, happy and melodic apart from a short electronic desert storm middle part. "Monotone" by the same band/project is not that monotonous as might be expected despite the short repetitive bass riff by Daniel. The half-industrial Casio organ keep this track on track, somewhat gliding in thin air. "The Desert Call (Short Version)" by Human Dance is also danceable, I suspect, female French sounding singer and spoken words (or is it Arabic or what?). Fascinating... The second song of the EP is the closing "L'Ultima Storia" by Subject. Even more ethnic flavoured than the former, in a nice pop'ish way, not far from some desert, I'd guess. Doesn't seem particularly happy, but the most spine-chilling of the lot.
Let's move to the homage section of the platter. "Jethro, C'Est Trop!!" by Human Dance has flute all over it. A quite poppy and (almost) insanely happy instrumental nod towards Jethro Tull, despite the rhythm-box and synthesized sounds. "Magikal Hystery Sour (The Beatles Were Not So Bad After All!!)", also by Human Dance, seems more guitar based than the others of the EP. Still, the happy-melancholic organ dominates. Sounds a bit like one of the most sane and pop-oriented songs by Bene Gesserit and seems to have little to do with the Beatles' song (or album, or TV movie) of almost the same name, except some psychedelic backwards effects towards the end.
This EP doesn't seem neither quite as insane nor as happy as the title suggests. It you'd like a - to some extent - light-weight introduction to the musical universe of Alain Neffe and co. this is it. I've seldom heard a compilation of Insane artists as pop oriented, hummable and even danceable. At the same time it's without any doubt part of the experimental 1980s underground. Hard to pick any favourites here. All six tracks are well worth looking into, though I have a weak spot for "Magikal Hystery Sour" that was also represented on the easy side of an Insane LP that I distributed some copies of in Norway twentysomething years ago. Time's passing by, but the music of the Insane label seem to be released at least as frequent nowadays as back in the 80s. A proof that the quality and appeal still is there. Only 250 copies available of this platter. So hurry!
Lunakafe.com: Full Moon 184 (9-12-11)

Nostalgia-hunters are well rewarded these days. Just think of all the nice goodies we got (recently) from OnderStroom Records, Dark Entries Records and LTM Recordings.
EE Tapes can easily be added to this list of impressive labels. There back now with a fantastic EP, “Nostalgie éternelle” from the German duo Nostalgie éternelle. Stefan Heinze and Dieter Mauson bring you dark minimal synthpop / wave of outstanding quality. The 4 songs on this EP were released earlier on cassette-compilations.
“Without You” opens graciously with an effective mix of bass, nervous electronics and FALL-ish vocals. Next up is “Too Late To Be Sad”, a captivating instrumental. Pay attention to the fantastic bass (Trisomie 21) appearing for the first time halfway the song! This wonderful track alone ensures a high score for this release! I played it over and over again these last few days. The EP continues with more intriguing, adventurous bleeps and (very) dark synths in “Conquest” and the instrumental “Just Darkness”.
To EE Tapes: respect!
Wonderful EP and only 249 copies left, so hurry to wool-e-shop and buy this gem! The first 85 copies are numbered and 2 extra photographs are added.
peek-a-boo-magazine.be - Didier Pieters - 07/06/2011

From the world of dust and dirt, the basement of music history… perhaps… we find Nostalgie Eternelle, a duo of Stefan Heinze and Dieter Mauson. In the second half of the 80s they were active in the world of cassettes. The small photo on the insert shows a whole bunch of them, presumably compilations in which they took part. Labelboss Eriek van Havere, himself around from the same years, hand picked four pieces from four compilation cassettes by this band. 'Minimal synth' is to some a word of magic, and I might be one (more from the 'hearing' department, then investing in obscure vinyl from those years). I do remember them pretty well, and quite enjoyed their bleepy rhythm machines, synthesizers, bass, cheap sampler and a voice that is not the best around. That last aspect belongs to 'minimal synth': a dark voice, not always in tune, angst ridden lyrics. I think Nostalgie Eternelle are/were at their best when they keep their tunes with voice, such as here in 'Too Late To Be Sad' and 'Just Darkness', although the other two pieces are almost as nice. Synthi-pop with dark edge. I have no idea where they stand in the picking order of forgotten bands but judging by these four tracks, I think someone should do a LP by them. I am sure they have plenty of good stuff in the vaults.
(FdW) VITAL WEEKLY number 784 week 23 - 07/06/2011

Nostalgia-hunters are well rewarded these days. Just think of all the nice goodies we got (recently) from OnderStroom Records, Dark Entries Records and LTM Recordings.
EE Tapes can easily be added to this list of impressive labels. There back now with a fantastic EP, “Nostalgie éternelle” from the German duo Nostalgie éternelle. Stefan Heinze and Dieter Mauson bring you dark minimal synthpop / wave of outstanding quality. The 4 songs on this EP were released earlier on cassette-compilations.
“Without You” opens graciously with an effective mix of bass, nervous electronics and FALL-ish vocals. Next up is “Too Late To Be Sad”, a captivating instrumental. Pay attention to the fantastic bass (Trisomie 21) appearing for the first time halfway the song! This wonderful track alone ensures a high score for this release! I played it over and over again these last few days. The EP continues with more intriguing, adventurous bleeps and (very) dark synths in “Conquest” and the instrumental “Just Darkness”.
To EE Tapes: respect!
Wonderful EP and only 249 copies left, so hurry to wool-e-shop and buy this gem! The first 85 copies are numbered and 2 extra photographs are added.
peek-a-boo-magazine.be - Didier Pieters - 07/06/2011

From the world of dust and dirt, the basement of music history… perhaps… we find Nostalgie Eternelle, a duo of Stefan Heinze and Dieter Mauson. In the second half of the 80s they were active in the world of cassettes. The small photo on the insert shows a whole bunch of them, presumably compilations in which they took part. Labelboss Eriek van Havere, himself around from the same years, hand picked four pieces from four compilation cassettes by this band. 'Minimal synth' is to some a word of magic, and I might be one (more from the 'hearing' department, then investing in obscure vinyl from those years). I do remember them pretty well, and quite enjoyed their bleepy rhythm machines, synthesizers, bass, cheap sampler and a voice that is not the best around. That last aspect belongs to 'minimal synth': a dark voice, not always in tune, angst ridden lyrics. I think Nostalgie Eternelle are/were at their best when they keep their tunes with voice, such as here in 'Too Late To Be Sad' and 'Just Darkness', although the other two pieces are almost as nice. Synthi-pop with dark edge. I have no idea where they stand in the picking order of forgotten bands but judging by these four tracks, I think someone should do a LP by them. I am sure they have plenty of good stuff in the vaults.
(FdW) VITAL WEEKLY number 784 week 23 - 07/06/2011

In the early to mid eighties I was a big fan of Insane Music, an indeed crazy label from Belgium. Their releases either worked around the various musical disguises of Alain Neffe, who played as or with bands as Pseudo Code (the biggest favorite here), I Scream, Cortex (which was poetry read by women, set to music by Neffe), Subject and Human Flesh. The latter was his most serious and also most open project. People from around the world mailed Neffe music and voices/vocals, to which Neffe added his own blend of music, made on violin, saxophone, synthesizer and piano. The fifteen pieces on 'Penumbra' were all recorded between 1985 and 1995, a period of silence for Human Flesh releases, but down in his basement Neffe continued to play music. There is something quite distinct about the music of Human Flesh. The way the saxophone is played, the voices (of Deborah Jaffe, Tara Cross, Nadine Bal, Anna Holmer) reciting rather than singing and the way other instruments are used. Right from the start this is easily to recognize as Human Flesh music. Maybe fifteen pieces is a bit much for what it is, but in terms of serious dramatic, melodic but also partly experimental music, Human Flesh has still an unbeatable style to it.
2007 - F. de Waard (Vital Weekly)

What’s to say on EE Tapes? In few words, since 1987 it has become one of the referential labels on the most underground area of the European outer limits music scene, with an excellent catalogue – which includes several sounding names – and a natural and logical evolution from the cassette to CD format. One of the above mentioned is Human Flesh, from which the “Penumbra” album is a precious item on the EE Tapes collection. Recorded between 1985 and 1995, this work by Alain Neffe’s project presents a collection of introspective and, let’s say, “obscure” compositions (with the predominance of guitars and analogical electronics), probably reflecting this French multi-instrumentalist’s personal perspective of the world. The musical environments of the old Crammed Discs releases aren’t a vain reference. But this ten year voyage isn’t made alone, with Neffe recollecting contributions from friend artists that range from Sweden to Mexico, which – and in spite of the conceptual “cement” – gives a heterogeneous ambience to the final result, as an album. And – of course – there are always the voices of Deborah Jaffe and the unforgettable Anna Homler.
2008 – N. Loureiro (gp information)

I’ve generally been ambivalent about the way so many current rock bands are appropriating elements of previously subterranean eighties styles, from postpunk to minimal synth to noise and industrial music. I guess I just don’t believe that the way to be original in 2008 is to copy obscure bands from twenty-five years ago (or forty years ago, for that matter). The good thing about all this retro-ness, however, is that some excellent musicians who were almost completely ignored in the eighties are finally getting attention. One person who really deserves some of that attention—but still hasn’t gotten anywhere near enough of it—is Alain Neffe. Neffe was/is the lynchpin of a plethora of interrelated Belgian bands, such as Pseudo Code, BeNe GeSSeRiT, Subject, Cortex, and Human Flesh. He was also the founder of Insane Music Contact, a (mostly) cassette label that released dozens of international compilations along with many of his own projects. Thus, Neffe was an important figure in the eighties cassette underground, which served much the same purpose as the web and sites like MySpace do these days as a way of connecting far-flung musicians and creating an international scene—though in a smaller-scale and more artisanal way. The latest release by Neffe’s Human Flesh, which consists of previously unreleased tracks recorded between 1985 and 1995, very much comes out of that eighties cassette underground but at the same time stands apart from it. Human Flesh is not really a band, but rather a concept or process, first conceived of in 1981. A Human Flesh track typically begins with Neffe writing a text, either in French or in English. This is then sent to someone in another country, most often a female, and is sometimes translated into the language of that person. A recording of that text, often just read, sometimes partly sung and with a few instruments added, is then sent back to Neffe. (In the pre-internet days, this was all done with cassettes.) Neffe next creates music around the words that is inspired by the sound and mood of the reading, alone or in collaboration with other musicians, whose parts he often processes in various ways. The final stage is the mixing of the track, which Neffe never does right away—his rule is to wait at least a year, so that his perceptions and reactions will be fresh. Neffe calls himself a non-musician, and has said of one of his bands, “We play potlatch music, which is emotional music, or more accurately emotional sounds, because we are not musicians.” Neffe certainly doesn’t focus on technique or virtuosity, but he plays many instruments—perhaps most centrally keyboards (including a primitive sampler, the Roland S-10)—with expressivity, personality, and a great deal of sensitivity to sound and atmosphere. In my book, that makes him a musician—but why quibble! The music on Penumbra, a very limited edition CD, not only relies on a classic cassette underground technique—trading parts through the mail—it also features some familiar names from that scene as readers/performers of Neffe’s texts: Deborah Jaffe (Viscera, Master/Slave Relationship), the recently deceased Lydia Tomkiw (Algebra Suicide), and Tara Cross. Improviser Anna Homler (Sugar Connection, Puppetina), who is in the group Chopstick Sisters with Neffe, contributes wordless vocals, while three long-time members of other Neffe projects also make an appearance: guitarist Daniel Malempré (Subject), Xavier S. (Pseudo Code), and vocalist Nadine Bal (BeNe GeSSeRiT, Chopstick Sisters). In addition to English, there are texts in Spanish, Swedish, and German translation, and two texts not written by Neffe (one by Xavier S., the other by Sleep Chamber’s Darline Victor). Lastly, there are three instrumental tracks, two of which—with their processed or sampled strings—sound rather “classical,” while the other, “Blond Smile,” is reminiscent of the krautrock band Popul Vuh. Despite Penumbra’s roots in the cassette underground, and some of the participants’ membership in the kind of harsh industrial bands that were the core of that scene, none of the clichés that limit and date much eighties industrial/experimental music are present in the collection. Neffe’s sound is so personal and original that it is not time-specific at all, and really can’t be put into any category—certainly it’s not industrial music or minimal synth. (There are almost no drum machines; in fact, there is virtually no percussion of any sort). The music on Penumbra is simultaneously innocent and bitter, morose and delicately gentle, naive and sophisticated. It is sometimes deeply beautiful, at other times anguished—and often both at once. The texts are brooding ruminations on lost love and mortality, but they avoid melodrama. Penumbra has a weight and depth that perhaps partly reflects its slow gestation process. It is a kind of “art music” made of simple means.
2008 - T. Coulter (The Brooklyn Rail)

Human Flesh was a mainstay of the 1980’s cassette culture, seemingly always appearing on compilations, not to mention being behind the Insane Music compilations. Essentially Alain Neffe with a rotating cast of collaborators, this project was active at the same time as many of his others such as Bene Gesserit, Niala Effen, Pseudo Code, Subject, Cortex, Japanese Genius, M.A.L. and I Scream. Some of these projects go back to the 1970’s and have that melodic lush quality lacking in a lot of things that we might associate with the aesthetics of the early 1980’s. For the most part, the Human Flesh material I was familiar with was made up of echoing cosmic ambient instrumentals. Apparently, Neffe also had a love of the female voice, and for this retrospective CD compiled a selection of collaborations with ladies from around the globe including Deborah Jaffe (Master/Slave Relationship), Nadine Bal, Darline Victor, Lydia Tomkiw (Algebra Suicide), Anna Homler and Tara Cross. Unfortunately for me, these vocalists tend towards a dramatic monologue style of delivery which really doesn’t do much for me. It also means the music turns in a different direction, which I don’t think is as strong as what Human Flesh does in instrumental works (“Blonde smile” on this disc is a nice example of the latter). One of the more successful tracks on this release for me is “meditations and fears (the fourth day)” which skillfully combines gentle backwards vocals with echoing bowed vahilla, swirling sounds and string organ ending with a reprise of the Pseudo Code sound (complete with Xavier S. on vocals). It’s still no Mauve Sideshow, but a very nice track. Given that this material goes back to 1985 and was all recorded analog, to the point of some vocal tracks being recorded on cassette, the sound is actually crisp and clear. I’m sure for what it is trying to accomplish, it is a great disc, just not my cup of tea all the way through.
2008 – Eric Lanzillotta (http://www.ribexibalba.com)

From Aural Innovations #39 (May 2008)
Human Flesh is a long lived project of Alain Neffe, utilizing a wide range of veterans from the hometaper underground. Based in Belgium, Alain started the Insane Music label in the early 1980s, and will also be known to many readers from the bands Pseudo Code and BeNe GeSSeRiT.
Penumbra is a collection of 15 never before released tracks recorded between 1985-1995. The various participants bring lots of intriguing variety to the table, with the common theme being Alain Neffe's appearance on each track and a fascinating array of spoken word vocals. Among the highlights is "Rust", which includes Deborah Jaffe (Viscera, Master-Slave Relationship) on spoken word. The music is dark and ethereal on the one hand, but the saxophone gives it an eerie lounge jazz feel too. Very cool. "Ofullbordad Malning" features Britt-Marie Lanner on Swedish spoken work, along with Phantom of the Opera organ, tasty guitar bits and spooky atmospherics. "Blind" is another excellent track with Britt's voice, this time with a bouncy proggy guitar and keyboard (mellotron sounding) segment. "Blond Smile" is a duo piece with Daniel Malempre on guitar and Alain Neffe on organ/synth/keys. It's a pleasant instrumental with a combination of gothic and spacey sounds.
"Possession" is one of my favorite tracks of the set. Darline Victor's voice is intense and haunting, and the supporting music is ideal for her vocal delivery. I like the avant-chamber music that backs Lydia Tomkiw's poetry on "So Weak", which later develops into a mysterious Residents-like carnival feel. "Nino Estrella" features a simple guitar driven melody backing all too brief dual vocals by Sandra Balderas and Larisa Lopez. Almost like some Anthony Phillips "Private Parts & Pieces" work. "I Love You, You Know…" is the most song oriented track on the album, and struck me as having a Tuxedomoon quality. Very nice. "Our Last Word" is a beautiful dreamy violin and soundscape piece. And at over 14 minutes, "Meditation and Fears (the fourth day)" is by far the longest track. It opens with an alluring Gothic/chamber music combination, with a cinematic quality that sounds like the soundtrack to some avant-garde film. Strangely image inducing, with multi-layered voices, some played in reverse, creaking sounds, and a use of strings and atmospherics that inject a deeply felt passion into the music. Freaky…. I dig it!
Overall, the music on Penumbra is sparse but creatively constructed and highly effective, with a focus on developing mood and atmosphere that supports the spoken word elements. Check out these gems from the hometaper archives.
2008 - Jerry Kranitz (Aural Innovations)

Today I received some copies of 'Table For Six: All Quiet? #3', which is an ongoing affair from EE Tapes. I know EE Tapes since the early cassette days and he released a Shifts CDR before and Shifts is on 'The Walls Are Whispering'. On this new compilation six artists have considerable longer pieces. My piece is entirely made from hiss taken from old cassettes, pieced together in a dramatic way. Very quiet and very loud. Its called 'Wortel (Root)' and is the companion of a piece to be released soon 'Root (Wortel)'. Other artists are Neuestrasse, Stormhat, Anemone Tube, Bruno De Angelis and (ad)vance(d). Fine line up, great CD.
Frans De Waard - 2008

EE Tapes was originally a tape-exclusive label established in Belgium back 1987, but during the years the media forms released from the label has changed, to the present state of being a CD-only label. Present release is another shot from the "Table For Six"-series, that celebrates different forms of ambient with contributions from interesting composers of the scene. On this third chapter contributions comes from newcomers as well as from more established artists. Despite the focus on ambient the approaches to the style is quite different with everything from concrete sounds to abstracts noise. Opening piece titled "Bulo omega" is twelve minute work of buzzing drones from Italian artist Neuestrasse. Washes of noise waves creates a quite organic edge to the expressions of noise. Organic is also the word to describe the following contribution from Danish artists Stormhat that specializes in ambient-scapes exclusively based on field recordings. His piece "Substanser" nicely mixes abstract concrete sounds with recognizable found sounds. German project Anemone Tube continues with a minimalist piece of beautiful ambient based on processed choir-samples and grandiose soundscapes. With its warm atmosphere, the work titled "Projected cataclysm" from Anemone Tube stand in extreme contrast to the following icy drone work from Dutch sound artist Frans De Waard. His piece titled "Wortel (root)" is another minimalist work based on buzzing drones operating in subconscious levels with a very interesting result. Once in a while the drones fades away giving space for swarms of high frequency noises and crackling electronics wiping out any sign of buzzing tranquility. Dutch artist (Ad)vance(d) closes the compilation with another great piece of ambience based on field recordings with subtle melodies moving in deeper layers. Excellent compilation that also presents some quite bizarre and beautiful jazz-like ambient-noise-spheres based on acoustic instruments such as horns and string instruments from Italian artist Bruno De Angelis. Thus a great span in the contributing expressions. Good work." [NM Niels Mark, Vital Weekly]