Exactly 40 years since the release of Histoire De Melody Nelson (his seminal and essential Serge Gainsbourg collaboration) Jean-Claude Vannier, France's most lorded arranger and composer of orchestral funk-rock and pop returns to the same artistic territory that has since come to represent his most iconic period and continually inspire five inclusive generations of experimental rock luminaries. The signature sound of JCV, complete with his brooding orchestral sweeps, pensive drum-drops, loudly plucked bass and biting clavinet has earned him a firm fixture in the top-ten album lists of virtually everyone with a passing interest in latter-day European rock and conceptual music. But don't call it a comeback. Unlike the many re-dux events or commercial updates of passed classics that we have recently come to expect, the latest LP by Jean Claude Vannier simply extends the authentic vintage winning-formula which he truly owns with utmost attention to every last detail. As pop music and technology changes with time some things are best left in their purest form which is why 40 years later JCV has returned to the same studio hands, with the same musicians and the same crystal clear vision that simply can't be equaled, despite the countless attempts. This all new LP comprises a personnel of the legendary European session players that appeared on classic Vannier & Gainsbourg scores such as Cannabis, La Horse, Slogan and Les Chemins de Katmandu as well as Melody Nelson itself, and his own bizarre and mythical follow-up LP, the truly bizarre 1973 avant-garde ballet L'Enfant Assassin Des Mouches (which was finally rescued from obscurity in 2005 by Finders Keepers as the labels debut release). The rhythm section line-up for the album alone reads like a European record collectors wet dream