Michel Madore ‎– Le Komuso À Cordes

Barclay ‎– 80260
Vinyl, LP, Album


A1 Calligraphie 7:21
A2 Ballade 3:52
A3 L'Avant-Dernière 7:31
B1 Stanley 3:56
B2 Rush 6:07
B3 Juggernaut 9:21
B4 Bâli 2:00

Companies, etc.



Sleeve and inner list A1 as "Calligraphie", label shows it as "Mac"
A3 spelled "L'avant-dernière" on sleeve, "Avant-Dernière" on label.

MAPL logo indicates all material 100% Canadian content

℗ 1976 Barclay
Made in Canada

Clandestine Production
Komdor Enrg Production

Barcode and Other Identifiers

  • Matrix / Runout (Side A label): 7610-DB-2347
  • Matrix / Runout (Side B label): 7610-DB-2348
  • Matrix / Runout (Side A run-out area): 7610-DB-2347 SNB Q
  • Matrix / Runout (Side B run-out area): 7610-DB-2348 SNB Q



Add Review



October 30, 2014
edited over 3 years ago
This is truly an obscure and lost gem of space fusion, of the Gong, Clearlight and Carpe Diem variety. While those other acts were French (well, Gong was partially French, but still), Michel Madore came from Quebec, so you can say this is the French-Canadian take on that brand of space rock. He only released two albums, Le Komuso à Cordes being his debut. None of his two albums have ever been reissued on any format, so that means you have to search out the original LPs. What you get here is lots of jazzy drumming, spacy synthesizers, sax, acoustic guitar, and even the occasional use of ocarina and cimbalom (Hungarian dulcimer, John Leach used one as heard on the Alan Parsons Project's Tales of Mystery & Imagination and I Robot). This would have been right at home on Musea Records. Unlike Gong, Madore don't take to quirky humor, so no Pot Head Pixies here, of course, so this music is on the more serious side like Clearlight and Carpe Diem. Plus it's all instrumental. I noticed there doesn't seem to be a lot in the way of this kind of space rock in Canada in general, so it's nice to see Michel Madore do such music. I really have a difficult time describing each song, they all have that similar approach, although I find it amusing that "L'Avant-Dernière" bears more than a passing resemblance to Dave Mason's "Shouldn't Have Took More Than You Gave". Those acoustic guitar passages bear an uncanny resemblance. Big difference here is this is all instrumental and prog all the way (Dave Mason's song is folk rock that reminds me of The Band - probably the reason he left Traffic, a song like that would have been out of the question on a Traffic album, even though a live version of that song with him and Traffic did appear in 1971 on Welcome to the Canteen). I wouldn't doubt Michel Madore heard the Dave Mason song in particular, it has received some radio airplay back in the day. I am also partial to the atmospheric "Ballad", which emphasizes acoustic guitar and string synths, with ocarina giving it an almost ethnic feel to. Also "Stanley", especially some of those amazing spacy synths to die for. I really love that 1970s vibe this album gives off.

The back cover depicts Michel Madore with the most seriously wild hair ever, who puts Giorgio Tsoukalos (of the TV series Ancient Aliens and In Search of Aliens) completely to shame. I have no idea if that was an artist way over-exaggerating his hair or that was his hair, but the back cover of the Canadian version of his second album La Chambre Nuptiale shows a regular photo of him, and his hair is still quite wild (still puts Giorgio Tsoukalos to shame), but nothing like on the back cover of Le Komuso à Cordes.

After a second album in 1978 (which was released on Kebec-Disc in Canada and in 1979 on EGG in France), Madore apparently moved to Paris and involved himself in artwork and sculpturing. Probably just as well, given the 1980s were not so friendly to this kind of music.

I am utterly amazed at the amount of obscurities I run across, stuff still lurking in the dark, only available as hard to find LPs with no sign of a reissue in sight, and it just blew me away! If you like the brand of space rock mentioned, this album is a must. but approach the next album, La Chambre Nuptiale with caution, as it's a much less accessible progressive electronic album (with no outside help, all instruments played by Michel Madore here) with an ominous vibe going through it, and the music goes at a more Klaus Schulze-type of pace (lots of droning string synths). I still enjoy that one, but it's approach is definitely not for everyone.