Docteur Faust

Wakhevitch's 1972 second album was a step beyond into a music alchemy that defies categorisation, and the work that started to define his trademark sonic collage of styles and moods.

Oozing darkness and mystery, plenty mind-bending tricks that take the listener to a wild and trippy ride into occult zones, spoken word passages and open drum breaks.

Delirious acid passages, hypnotic bass riffing, stoned funk beats, wild free-rock freak-outs, avant-garde orchestral drama, dubbed-out passages and Wakhevitch trade-mark collage and sound manipulation into a psychedelic kaleidoscope full of intense moods — not unlike the similar collaged, contrasting and now much revered opus L’Enfant Assasin Des Mouches by Jean Claude Vannier or some of Faust's work.

It has become over the years Wakhevitch's hardest to find album and one that's been chased also because of his striking cover-art, made by no-other than Philippe Druillet, one of the top exponents of French 70's sci-fi comics school which revolved around the seminal Metal Hurlant magazine.