Sixteenth

Sixteenth

Label : Booster/Wtpl 2012
Digital release date : 23/12/2012
Digital distribution: Believe for Booster-wtpl-music
Physical release date : 2012
Genre : art rock - ambient - contemporary classical - alternative - soundtrack - experimental - electro acoustic...
Number of tracks : 12 | Duration : 64:00
Musicians : Isabelle Farmini (soprano vocals on tracks 2 / 8 / 11 / 12)
Ivory Parker & Thomas Rieder (beatboxing on track 11)
Beda Percht: lyrics on tracks 2 / 11
Tomaž Simatović: voice of millions on track 3.
Thierry Zaboitzeff (bass guitar, guitars, keyboards, cello, samplers, percussion programming and other virtual instruments)
Thanks to d-zAkord & Erik Baron on track 7
Guitars: Dominique Badia, Paul Gonet, Francis Rateau, Bruno Remazeilles, Sébastien Verlhac,
Basses: Erik Baron, Alain Guyon.
On track 6, an extract from "I have Dream" by Martin Luther King.
Composition: Thierry Zaboitzeff
Artwork: The Anonymus Designers © photo by Editta Braun (booklet) Valentin Zaboitzeff (cover)

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Sixteenth

Here an extract from the SIXTEENTH album "Mariée à la Nuit" (track 7) performed by d-zAkord & Erik Baron
Guitars: Dominique Badia, Paul Gonet, Francis Rateau, Bruno Remazeilles, Sébastien Verlhac,
Basses: Erik Baron, Alain Guyon.
And Thierry Zaboitzeff

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Reviews

Eurock (USA) - Chromatique.net (F) - Babyblaue Seiten (D) - Traverses (F) - Exposé (USA) - Koid9 (F) - Impro Jazz (F) - Progresiste (B)

EUROCK (USA)
by Archie Patterson (2013)

Sixteenth - Thierry Zaboitzeff

16 (Sixteenth) is a highly adventurous album that incorporates both rock and Zeuhl music influences. Musically it’s amazingly sequenced as the tracks flow together offering a fascinatingly diverse listening experience. The album demonstrates the wide range of Thierry’s compositional skills. Isabelle Farmini’s soprano voice is integrated into four compositions beautifully; he also makes use of an excerpt from Martin Luther King’s I Have a Dream speech in “Free At Last” creating a powerful piece of musical sociology. The music at times is beautiful, strange, powerfully rhythmic and experimental, resembling a musical kaleidoscope of notes and sounds arranged into an incredibly adventurous organic composition.

EUROCK (USA)
Archie Patterson.

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CHROMATIQUE.NET (F)
by Jean-Philippe Haas

Sixteenth - Thierry Zaboitzeff

Thierry Zaboïtzeff is one of those experimental musicians who are not content with the status quo or with what already exists, and who seek to create a distinctive musical world. For a quarter of a century, he and Gérard Hourbette sought, through Art Zoyd, to push the boundaries of their art by drawing on jazz, progressive rock, electronic and contemporary music to create innovative, multimedia works that knew no limits. Flying solo since 1997, Zaboïtzeff now presents *Sixteenth*, his sixteenth solo album.

It is hardly possible to pin a specific genre on the album’s dozen tracks, as each is imbued with its own life and pulse. Whether instrumental or sung by the soprano Isabelle Farmini, they occasionally veer towards the style of Magma, or even Klaus Schultze, but they most often belong to their creator’s own universe. Never quite electronic, never quite acoustic, the multi-instrumentalist’s music nevertheless leans more readily towards the use of machines, particularly in the second half of the album. From linear or rather straightforward compositions (‘Slippery Nights’, ‘Makes Me Sleep’, ‘Deil zom an delay’) to more complex tracks, or those devoted more to atmosphere (‘Kordz and the Guardian Angels’, ‘Mariée à la nuit’, an electro-symphonic cover of an Art Zoyd track, or ‘Free At Last’, which features Martin Luther King and his famous speech), there’s plenty to enjoy, whether you’re into electronic music or RIO.

Be that as it may, Zaboïtzeff always avoids the pitfall of questionable sounds and, so to speak, never replaces an instrument with its synthetic imitation, except in orchestral passages. This makes *Sixteenth* a modern work that stands the test of time. More accessible than his *Planet Luvos* – which cannot do without the visual and theatrical framework for which it was created – this album is no less ambitious, and demonstrates that its creator is not resting on his many laurels.

Jean-Philippe Haas

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BABYBLAUE SEITEN (D)
by Siggy Zielinski (25/05/2013) 

Sixteenth - Thierry Zaboitzeff

‘Sixteenth’ is the title of Thierry Zaboitzeff’s album, released in 2012. This suggests that by that year, the immensely creative Frenchman had already released sixteen solo albums. Should the interested avant-prog listener attempt to verify this figure, they will discover on the artist’s website that, in Zaboitzeff’s view, Philippe Schlienger’s photo album *Epreuves d’acier*, published in 1995, is to be regarded as his third solo work. The book comes with a CD featuring the title track, which later also appeared as a sort of Zoyd track on *Häxan*. With one exception, Zaboitzeff’s discography consists ‘only’ of conventional CDs.
For once, “Sixteenth” is neither a Zaboitzeff soundtrack album nor a concept album, but simply a loosely themed collection of studio recordings. So there are no fictional ensembles supposedly accompanying Zaboitzeff, but rather a handful of real fellow musicians who support him in his project. These include five guitarists, two bassists (all seven from the d-zAkørd circle), a soprano, and two or three unusual guests who take on equally unusual roles by ‘beatboxing’ or contributing the ‘voice of millions’. It was in this way that I learnt, quite by the way, that beatboxing means nothing more than creating rhythms with your mouth.
‘Sixteenth’ presents a comparatively broad musical spectrum of the Zaboitzeff universe. This includes spirited, grooving avant-prog with growling spoken vocals (“Slippery Nights”); graceful anthems featuring a soprano voice and strong Zeuhl influences (“Makes Me Sleep”, “Deil zum en delay”); an experiment blending anarchy, Krautrock, electronica, dark ambient and industrial elements (“Schluss mit Kunst”), an electronically tinged tribute to Martin Luther King’s struggle featuring fragments of his speech (“Free at Last”), guitar-driven avant-prog ranging from tension hidden beneath the surface (“Ov.expv”) to overt tension (“Mariee...”) tension, electronically experimental industrial prog with soprano vocals (“Connectivity”), a symphonic chamber prog long-track (“Kordz...”), dark chamber prog oscillating between melancholy and subliminal aggression (“Ov.6”) and, finally, elements of rhythmic electronica, prog, hip-hop and Zeuhl ingeniously woven together in “Touch”. The closing track, “Dr Zab. am Wolfgang See”, could be interpreted as a thoroughly humorous journey to Lake Wolfgang, in which the soprano warbles a few lively melodies to accompany the project leader’s one-man ensemble of keyboards and electronic rhythms.
Overall, I consider “Sixteenth” to be a very entertaining (and varied) work, provided one is willing to extend the definition of good entertainment to include darkly tinged or experimental pieces. 25 May 2013

BABYBLAUE SEITEN (D)
Siggy Zielinski

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TRAVERSES (F)
by Stéphane Fougère (28/10/2016)

Sixteenth - Thierry Zaboitzeff

More recently, Thierry ZABOITZEFF released 16 (Sixteenth). Why 16? Quite simply because it is his sixteenth album. “Already?” the latecomers are bound to ask. Let’s do the maths: Thierry’s first solo venture actually dates back to his time with ART ZOYD, in 1984, with *Promethée*. There was a second in 1992 (Dr. Zab & his Robotic Strings Orchestra), then a third in 1995, *Épreuves d’acier*, which was eventually incorporated into ART ZOYD’s *Häxan*; but it is, of course, since he left the band that ZABOITZEFF has produced a wealth of work, each release as varied and original as the next. We won’t list them all here, but if we include the compilation *Back Up* and his rare duo album with Harald FRIEDL (*Rauch*), his discography does indeed total sixteen albums with this one.
Who knows whether Dr. ZAB intended this album to be a commemoration, a marker in time, or a milestone, but *16* turns out to be a bit of all those things at once, such is the effort its creator has put into it.
ZABOITZEFF has concocted an opulent opus blending classical instruments, rock, electro-acoustic elements, programming, samples and vocals, using recipes adapted in all his favourite styles – from solemn contemporary classical to baroque electro-techno, via martial and decidedly Zeuhl-inspired rock, dark ambient and chamber music. In 16, blissful contemplations and walking nightmares, moments of serenity and guerrilla-style sequences, images of a lost Eden and visions of an imminent apocalypse, chimeras and gargoyles, the voices of angels and ghouls march in tight formation, some in front of or behind others, or side by side, or merging and blending as transitions or breaks dictate. As well as ZABOITZEFF’s own voice – whether natural or visceral – 16 features other voices, both real and virtual. Several tracks thus benefit from the seraphic vocals of soprano Isabelle FARMINI; a staccato rhythm is laid down by two ‘beatboxers’ on the impulsive ‘Touch’, the voice of performer Tomaz SIMATOVIC counts out the millions on the unbridled ‘Schluss mit Kunst’, and fragments of Martin LUTHER KING’s speeches punctuate the panicked flight of ‘Free at Last’. These high-octane tracks are contrasted by others that exude a mysterious slowness, such as the classical and sententious ‘Kordz et les anges gardiens’, which one might think was written for DEAD CAN DANCE, or the suave and plaintive ‘Deil Zom an Delay’, performed during Thierry’s live show ‘Cross the Bridge’ two or three years ago. Long-time fans will recognise 16 of the tracks as compositions previously recorded elsewhere. ZABOITZEFF treats us to a new, electrifying and highly tongue-in-cheek version of his ‘Dr. Zab & his Robotic Strings Orchestra’ (whose captivating melody is inspired by SHOSTAKOVICH’s Eighth Symphony), renamed ‘Dr. Zab am Wolfgang See’. And, surprise, surprise, Thierry also revisits his classic ‘Mariée à la nuit’, which he performs with the members of Erik BARON’s collective, d-zAkord. (This is the only track on the album where he is accompanied by a band.) This all-string version is every bit as good as ART ZOYD’s, and even goes so far as to sound like an unreleased track from a Fripp-style Pro-JeKCt. One might well have hoped that this collaboration between ZAB’ and d-zAkord would have continued beyond this single track…
As it is not directly linked to a choreographic or cinematic work, *16* is a comprehensive album that displays a multifaceted stylistic inspiration which purist followers will deem presumptuous, given the way it is held aloft like a (bloodless) banner. The originality and variety of moods and compositional structures revealed in the twelve tracks on this album illustrate Thierry ZABOITZEFF’s creative audacity.

TRAVERSES (F)
Stéphane Fougère

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EXPOSE (USA)
by Peter Thelen (25/10/2013)

Sixteenth - Thierry Zaboitzeff

Hard to believe that “Dr. Zab” now has sixteen releases to his credit, but it’s true. And of all, this is one of the most eclectic, offering a wide palette of ideas and styles, shifting gears from one track to the next, so much so that it’s often a difficult one to summarize, but it’s nonetheless listenable while being highly explorative and original. For the most part, Zaboitzeff plays all the instruments here (bass, guitars, cello, samplers) as well as some vocals – although the primary focus is on instrumental work. Isabelle Farmini provides beautiful soprano voice parts to four of the cuts, two of which feature lyrics, and Erik Baron’s d-zAkord (a group of five guitarists and two bassists) is featured on one other track. Some of the material here could fit in well with some of his soundtrack material, while other pieces are very rhythmic and aggressive, offering a strong and potent mix of jazz, ambient, ethnic, weird mutant rock, and even touches of zeuhl. Opener “Slippery Nights” is a case in point, offering a curious strangeness that is instantly compelling. “Ov.6” represents a slower building melody working within some haunting dreamlike atmospherics. “Free at Last” pits intense bass and electronic grooves over the famous speech by Dr. Martin Luther King, gradually adding some clever melodic twists and rhythms. After a chaotic start, “Schluss mit Kunst” finds a curious electronic oriented groove fed by samples and some intense guitar buildup. “Touch” combines a variety of electronics (textures and samples), female voice and guest beat-boxing into some very innovative results, perhaps one of the disc’s most interesting cuts. While this disc tends to shift around in some strange unexpected directions, it nonetheless makes for a very interesting listen beginning to end.

EXPOSE (USA)
Peter Thelen

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KOID9 (F)
by Jean-Marie Lanoë (2013)

Sixteenth - Thierry Zaboitzeff

“I’m always learning,” Marguerite Duras used to say. When “someone” sent me Thierry Zaboitzeff’s two latest releases, “Sixteenth” and “Planet Luvos”, I nearly threw the lot out after my first – distracted – listen. “This isn’t for me,” I thought straight away. But then I gave it another go, realising I’d been a complete idiot. I didn’t know at the time – though I’ve since found out – that Zaboitzeff was one of the founders of the legendary Art Zoyd. Since then, he’s become a great multi-instrumentalist specialising in avant-garde music that joyfully blends electro, electro-acoustic, classical and jazz. A post-modern fusion of which we get a brilliant glimpse with “Sixteenth”, an ambitious project for which the Maubeuge native has enlisted, first and foremost, the soprano Isabelle Farmini.
What a strange discovery! First of all, it isn’t that difficult to get into the world of “Doctor Zab”. (As for the other CD, ‘Planet Luvos’, it’s much more of a challenge because, as it’s the soundtrack to a piece of physical theatre, it’s not easy to do without the visuals, even though you can clearly sense (and hear) that the oceans are ever-present – end of the ‘Planet Luvos’ digression). ‘Slippery Nights’ therefore opens ‘Sixteenth’. In a frantic search for points of reference, Magma springs to mind, as does Jean-Luc Ponty – specifically his jazz-rock period, for the strings but also, and above all, that sort of underlying rhythm. This notion of a beat – strange and infectious, packed with loops and programmed rhythms – can also be found on “Free at Last”, set against the backdrop of Martin Luther King’s universal speech.
It’s thrilling, much like a meeting between John Barry and Pat Metheny at his wildest; on “Mariée à la Nuit”, “Connectivity” (brilliant, featuring Isabelle Framini’s marvellous voice) or the finale of “Touch” too, not to mention the stunning, syncopated and Celtic “Dr Zab Am Wolfgang See”. Amidst these foot-tapping escapades, there are sometimes hidden little gems such as “Deil Zom An De Lay”, which is almost prog, just like “Ov.6” with its Hackett-esque guitar. Admittedly, there are a few heavier passages, including “Schluss Mit Kunst”, but our overall impression is that, provided you listen carefully, Zaboitzeff’s world is not the “barren desert for intellectuals craving thrills” (DAPIEMDS) that we initially thought we’d detected. It’s nice to be wrong. And then to discover the truth.

KOID9 (F)
Jean-Marie Lanoë

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IMPRO JAZZ (F)
by Philippe Renaud (10/2016)

Sixteenth - Thierry Zaboitzeff

So, in 2012, Thierry Zaboitzeff produced this album entirely on his own, though this time with a few guest musicians on certain tracks; it is a little more compact in terms of structure and production. It’s also more guttural, with a slightly darker atmosphere than that of Art Zoyd. Yet it’s illuminated by arpeggios and glissandos with a somewhat folk/progressive feel, featuring a female vocalist on four tracks, including the very languid ‘Makes me Sleep’. After the storm surrounding the haunted manor, comes sensuality and innocence. A beautiful contrast, swiftly shattered by a hurricane of unsettling sounds, a variable-speed electronic theme, breaks and fractures, UFOs streaking across the sky – one imagines the presence of dinosaurs and other charming creatures – then the music sets off on a path that climbs, intensifies, its binary rhythm halted abruptly only to resume with renewed vigour… and we find ourselves swept away by this hypnotic musical whirlwind, which stops all too soon, only to return to Isabelle Farmini’s restrained soprano voice, reminiscent of the ‘kobaïen’ style of our beloved Magma. In the following track, Zaboitzeff includes an excerpt from Martin Luther King’s famous ‘I Have a Dream’ speech, set against a backdrop of percussion and electronics.

Thierry Zaboitzeff has decided to continue his career on his own, which is much to his credit. His records are hard to come by, just as they were in his early days; for him, nothing seems to have changed. All the more reason to get in touch with him and place an order.

IMPRO JAZZ
Philippe Renaud

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PROGRESISTE (B)
by Dominique Genin

Sixteenth - Thierry Zaboitzeff
Thierry Zaboitzeff
16 — Multiple Distortions
Booster/Wtpl - 6452 / 76'11 -FRA ‘12 / 16
Style: RIO, Avant-Prog

Thierry ZABOITZEFF is making a name for himself in this issue! As well as the release of the EP showcasing his new band, we’re treated to three reissues that are well worth a listen and a watch – one of which is a DVD… so do pop over to the DVD section too}. Over the past 20 years, Dr Zab has composed 18 albums, and the story continues, as in the ‘New Releases’ section I’ll also be telling you about his new ensemble, Aria Primitiva.

Despite his boundless imagination, Thierry Zaboitzeff didn’t surprise us with the title of his sixteenth album, released in 2012, boldly named 16 in French and Sixteenth for Anglophiles. However, when it comes to his compositions, imagination is certainly in abundance. It’s no easy task to find the right label – simple and unique – to apply to this CD, given just how varied the compositions are. Our Dr Zab, as usual, navigates by feel between electric, electronic and acoustic sounds. He plays all the instruments but also knows how to make use of machines to create loops and percussion, mainly in the second half of the album. Instrumental tracks alternate with superb pieces sung by the soprano Isabelle Farmini. He also skilfully sets to music Martin Luther King’s famous speech in ‘Free At Last’. The tracks average five minutes in length, so there are no major developments in the ideas, which makes Zaboitzeff’s music very accessible. A minor exception in terms of length is the 12-minute ‘Kordz et les anges gardiens’, which allows for a better development of different atmospheres and makes this track one of the most interesting on the album. In terms of sounds and timbres, the range is quite broad; the various tracks evoke Art Zoyd (notably a rendition of *Mariée à la Nuit*), Magma, *Implosion* by Univers Zero, Dead Can Dance, certain robotic-sounding German e-Music, but also some of Robert Fripp’s experiments. Whether this is a great variety or a lack of consistency is not really the issue, thanks to a great sense of fluidity that ensures the tracks flow together beautifully to create a colourful journey through a multitude of atmospheres.

PROGRESISTE (B)
Dominique Genin

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