The musical collective known as Soft Heap represents a critical evolutionary branch of the Soft Machine lineage, serving as a vital link between the experimental jazz-fusion of the 1970s and the avant-garde improvisational movements of the 1980s. Originally formed as a supergroup of sorts within the "Canterbury Scene," the band\u2019s name was derived from the initials of its founding members: Hugh Hopper, Elton Dean, Alan Gowen, and Pip Pyle. While the lineup shifted following the untimely death of keyboardist Alan Gowen in 1981, the group\u2019s commitment to "adventurous electronics, inspired arrangements, and wondrous improvisation" remained the cornerstone of their creative output. The release of the Impetus Records CD (IMP CD 18219) provides a comprehensive look at this era, capturing performances from 1982 and 1988 that highlight the group\u2019s willingness to experiment wildly with soundscapes, ranging from ethereal ambient textures to aggressive, hard-centered improvisations.<\/p>\n
To understand the significance of Soft Heap, one must examine the broader context of the Canterbury Scene, a loosely defined movement of progressive rock, avant-garde, and jazz musicians based around the city of Canterbury, Kent, in the late 1960s and early 1970s. The scene was characterized by a distinct blend of psychedelic rock, complex time signatures, whimsical lyrics, and intensive jazz improvisation. Soft Machine was the primary progenitor of this movement, but as the band\u2019s lineup shifted toward a more traditional jazz-rock fusion in the mid-70s, several key members departed to seek more experimental avenues.<\/p>\n
Soft Heap emerged in 1978, during a period when the original Canterbury energy was diffusing into various side projects and new collaborations. The founding quartet brought together an immense pedigree: Hugh Hopper had defined the "fuzz-bass" sound of early Soft Machine; Elton Dean was the fiery saxophonist who led Soft Machine during its most acclaimed jazz-fusion period; Alan Gowen was the visionary keyboardist of Gilgamesh and National Health; and Pip Pyle was the rhythmic powerhouse behind Gong and Hatfield and the North. <\/p>\n
Following their initial tours and a self-titled studio album in 1979, the group faced a significant transition. The passing of Alan Gowen in May 1981 necessitated a change in personnel and direction. This led to the inclusion of guitarist Mark Hewins and bassist\/vocalist John Greaves (formerly of Henry Cow), who shifted the band\u2019s sonic palette toward the more electronic and "ambient-before-its-time" style documented in the Impetus recordings.<\/p>\n
The material featured on the Impetus CD represents two distinct phases of the band\u2019s later history, providing a timeline of their stylistic evolution.<\/p>\n
The majority of the disc\u2014comprising tracks such as "Dying Dolphins," "A Veritable Centaur," "Space Funk," and "Bossa Nochance"\u2014was recorded in March 1982 in Bresse-Sur-Grosne, France. At this juncture, the lineup consisted of Elton Dean (saxello, alto sax, flute), Mark Hewins (guitar, echo units), John Greaves (electric bass, vocals, organ), and Pip Pyle (drums, electronic drums). They were joined on certain tracks by Alain Eckert on guitar synthesizer. <\/p>\n
These sessions are notable for their early adoption of electronic manipulation. In "Dying Dolphins," the band utilized electronic simulations to mimic marine mammal vocalizations, a feat of sound design that preceded the widespread use of sophisticated digital sampling. This period was characterized by a "living branch" philosophy, where the ethos of Soft Machine was preserved not through the repetition of old hits, but through the continuous push into uncharted sonic territory.<\/p>\n
The final track on the collection, the nearly 70-minute "Toot De Sweet" (represented in edited form or as a lengthy reprise on the CD), dates from a 1988 performance in London. By this time, the group had further refined their improvisational chemistry. The lineup remained largely consistent with the 1982 sessions, maintaining the core of Dean, Hewins, Greaves, and Pyle. This later performance demonstrates a "cumulative power," where the themes established in earlier years were revisited and expanded upon with a more "hard-centred" approach, drawing comparisons to the high-intensity "free-jazz-meets-noise" aesthetic later popularized by artists like John Zorn.<\/p>\n
The Impetus release is lauded by musicologists for its diversity of textures and its refusal to adhere to a single genre. Several tracks stand out as benchmarks of the era\u2019s experimental music.<\/p>\n
"Bossa Nochance" is frequently cited for its "ethereal backwash of sound." Unlike the structured bossa nova rhythms its name might suggest, the track functions as a deconstruction of rhythm. The use of delay and reverb creates a shimmering atmosphere that serves as a backdrop for Elton Dean\u2019s saxello. The saxello\u2014a hybrid soprano saxophone with a curved bell\u2014allows for an "otherworldly wailing," which critics have likened to a bird in flight, soaring over an abstract electronic landscape.<\/p>\n
One of the most prophetic tracks on the album is "Jackie\u2019s Acrylic Coat." Recorded years before "ambient" and "glitch" became established electronic subgenres, the track features vocals that "bounce in and out of focus as if caught on a radio dial." This technique of vocal fragmentation, combined with a wash of synthesizers and subtle percussion, highlights the band’s foresight in exploring the intersection of human voice and machine-driven processing.<\/p>\n
In stark contrast to the ambient tracks, "Day The Thirst Stood Still" offers a more aggressive, dissonant experience. The interaction between Mark Hewins\u2019 guitar\u2014often processed through echo units to create jagged, rhythmic loops\u2014and Pip Pyle\u2019s polyrhythmic drumming creates a high-tension environment. This track serves as a precursor to the "Skronk" and "Avant-Jazz" scenes of the late 80s, emphasizing raw energy and unpredictable structural shifts.<\/p>\n
The success of the Soft Heap project was predicated on the unique technical skills of its individual members, each of whom brought a specific pedigree to the recording sessions.<\/p>\n
The archival release of these recordings by Impetus Records serves several important functions in the music industry and academic study of jazz history. First, it preserves a "missing link" in the evolution of the Canterbury Scene. While Soft Machine\u2019s early 70s output is well-documented, the activities of its members in the early 80s were often relegated to obscure live tapes and limited-run vinyl.<\/p>\n
Second, the recordings provide a case study in the transition from analog to digital experimentation. The 1982 sessions, in particular, show a band grappling with the limitations of early 80s gear to create sounds that would later become effortless with the advent of digital workstations. The "electronic simulation of marine mammals" in "Dying Dolphins" is a testament to the creative ingenuity required in an era before high-fidelity sampling was commercially available.<\/p>\n
Finally, the work of Soft Heap underscores the enduring nature of the "Softs" ethos. As Mark Hewins noted, the band was a "living branch," implying that the spirit of Soft Machine was not a fixed point in time but a continuous commitment to adventurousness. This ethos influenced a generation of improvisers in Europe and the United States, contributing to the development of "Free Improvisation" as a recognized discipline.<\/p>\n
The Impetus CD (IMP CD 18219) remains a "good-value" and "vital" document for scholars and enthusiasts of experimental music. By compiling tracks from 1982 and 1988, the release illustrates a period of intense creativity that defied the commercial trends of the 1980s. While the founding "HEAP" lineup was altered by time and tragedy, the incarnation featuring Dean, Hewins, Greaves, and Pyle successfully maintained the radical spirit of their predecessors. <\/p>\n
The music contained within these recordings\u2014ranging from the ambient drift of "Jackie\u2019s Acrylic Coat" to the "cumulative power" of "Toot De Sweet"\u2014continues to resonate. It serves as a reminder that the boundaries between jazz, rock, and electronic music are fluid, and that the most enduring art often comes from those willing to "experiment wildly" at the edges of tradition. As a living branch of the Soft Machine tree, Soft Heap ensured that the roots of the Canterbury Scene continued to produce new, strange, and beautiful growth well into the modern era.<\/p>\n","protected":false},"excerpt":{"rendered":"
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