(September 2010) The electronic scene can be a fickle mistress. Whilst some artists find global notoriety others languish in dejected obscurity. This is especially true of early pioneers of electronics. Most minds immediately think Kraftwerk, and there’s no harm in that. Others might think Bowie, Tangerine Dream, Vangelis or later groups like Gary Numan of the Human League. Some may snub this alignment and think that electronic music found its place in Sci-Fi movies and gained greater ground with the works of John Carpenter or Goblin. The argument could go on for a decent while. Few people look back to disco for the building blocks of electronic music, bar some house and techno producers. Yet, in the vast vaults of disco there are some true electronic front-runners. One such unknown hero of the electronic movement is Sauveur Mallia.
Mallia released under his own name, as well as Spatial & Co. He was part of forward looking groups such as the acclaimed Arpadys and Voyage, whose hits included “I Love You Dancer.” His sound spanned a variety of genres, from synthesizer music, disco, cosmic disco, to all out electronic experimentation. His output can only be described as impressive, releasing from the mid 70s to the late 80s. One label that has realised the forgotten abilities of Mallia is Electunes. In 2008 the Austrian imprint proudly brought together a number of the French man’s tracks on Spatial Disco. After that success Spatial Disco Vol. 2 is out with a new helping of planet Mallia.
The compilation focuses on Mallia’s productions on the infamous Tele Music label between 1981 and 1984, a short period of time but a prolific one for Mallia. All the tracks are from fours albums, Cosmosynthetic Vol. 1, Cosmosynthetic Vol. 2, Percussions Modernes 1, Percussions Modernes 2 and Automation 2. The journey to Mallia’s world starts out with heady space sounds of “Synthetic Neutron.” The pilot takes you into his realm of electronic experimentation, melting elements of cosmic disco with isolated probes. Disco lands with the playful “Smurffissimo” which brings the listener down one melody corridor before turning them into another hallway of synthesizer sound. It is difficult to find a contemporary comparison for Mallia’s analogue weavings, in a way he is reminiscent of the early instrumental pieces of The Creatures or Automat. In other respects the tracks have an early Rephlex feel to them, recalling some of the more playful Aphex Twin material or Mu-Ziq. One thing is for certain, the tracks do not sound their age. The B-Side sees Mallia continue down his analogue excursion. The DJ friendly “Robot Scratch” holds a solid beat throughout, with Mallia weaving his magic.”Macadam Locomotion” blends influences seamlessly, layering strings over synthesizer oddness and machine rhythms. The soaring tones of “Rectangle Astral” follow. A lush dreamlike piece that harks back to the sounds of Vangelis or even a lo-fi Moroder. The LP comes to a close with “Uranium Astral,” a slow soundtrack piece of thick Carpenter style bars that tops off the album beautifully.
Spatial Disco is not disco as we know it. Mallia did throw his hat into the disco arena, and made some great tracks. But Spatial Disco is an electronic abstraction that does not adhere to the catchy mirror-ball, it focuses on the potential of the synthesizer. Mallia explores cosmic sounds, he peers into the soundtrack genre all whilst paving the way with some unheard music. These tracks are as fresh today as they were when they were released, mainly because very few travelled down this line of analogue experimentation with such a musical ear. Global and personal influences captured on a synthesizer and a drum machine with a willingness to test the waters of possibility, is one way to describe Mallia; an underrated talent may be another. The only way to decide is to experience the pioneering sounds of Spatial Disco.
Spatial Disco is out now on Electunes.
