A TOUCH OF PÂLE VIOLENCEEarlier on I mentioned that the paths of Gilbert Artman and Richard Pinhas would cross, but in reality there was much more to it than that, their musics were to meld as one on the second Lard Free album. It seems this all came about when Richard invited Gilbert to play drums on Mechamment Rock (on HELDON THIRD) and this in turn lead to Richard helping out on Lard Free sessions. The second Lard Free album sported the strange title I'M AROUND ABOUT MIDNIGHT (probably an indication that it was recorded during dreamy late-night sessions) and presented a much more electronic and atmospheric music that its predecessor. As was to be expected, there's a lot of Richard Pinhas influence here, yet despite the inclusion of an alternative version of Mechamment Rock (under the title Pâle Violence Under a Reverbere) and proliferation of Frippian guitar lines, the feel is very different to Heldon. Much further from rock realms, with uneasy injections of jazz and abstract avant-gardism. The addition of systemic Riley-esque elements helps to cement together what is basically a very surreal and strange type of music. Bleak and unnerving, yet also beautiful and invigorating.From my Gilbert Artman "The Eternal Spiral" article in Audion magazine #24 (Feb. 1993)

Great experimental prog rock lead by Gilbert Artman. Lard Free was essentially more of a Gilbert Artman project than an actual band, as the lineup kept changing for each album. I'm Around About Midnight is the second album and finds Artman and Co. close to King Crimson and Heldon territory. That should come as little surprise as none other than Richard Pinhas makes an appearance here, giving his trademark Fripp-like guitar work as well as additional synth. "Violez L'Espace De Son Refrigerant" features droning synths that sound like something off Heldon's second album, Allez Teia with strange sounding violins (it sounds like violins, although no one is credited to such). "In a Desert-Alambic" is more in Crimson territory, complete with Fripp-like guitar from Pinhas himself. Sax is also use. "Does East Baskestan Belong to Itself" features lots of vibes, giving an almost Balinesian gamelan feel. I also like the nice use of flute and droning synths. "Taktooz a Roulette" features some rather moody organ with periodic pinging synths that give way to use of sequencers. "Pale Violence Under a Reverbere" is another Crimson-like number. "Even Silence Stops when Trains Come" is a nice, piano-dominated number, and done in a rather interesting and creative manner.Like Heldon, Lard Free's music often has a minimalist approach, which might turn off certain listeners, but it don't me, and I find this album fantastic. A great album for those into prog and electronic, particularly if you enjoy Heldon or Crimson.