Cos ‎– Postaeolian Train Robbery (1974)

Postaeolian Train Robbery is the debut album by Belgian progressive band Cos, released in 1974 on Plus Records.

The record establishes their unique hybrid of jazz-rock, avant-prog, and Canterbury-inspired fusion, driven by intricate ensemble interplay. The music successfully bridges the spatial minimalism of Zeuhl with the kinetic improvisation of Soft Machine.

Guitarist–flutist Daniel Schell composed all seven pieces for the sextet. Vocalist–oboist Pascale Son utilizes wordless female vocals as an equal instrument, combining rhythmic precision with surreal tonal color.

The material ranges from brisk ensemble statements to long sectional compositions. The title track establishes the band’s rhythmic intensity, and “Cocalnut” features Son’s rapid vocal acrobatics. The closer, “Coloc,” unfolds over nearly ten minutes, showcasing a series of sharp ensemble breaks and angular guitar statements. Cos recorded the sessions in August 1974 at Start Studio in Brussels.

A1. “Postaeolian Train Robbery” (4:13) – Daniel Schell

The track opens with piano and drums before Adrian Stoop delivers a spoken introduction of the band members. Once the announcement concludes, the instruments adopt a more serious tone, establishing a rhythmic drive. Flute lines intertwine with the introductions, aligning with the piano to define the band’s direction. The central theme repeats, gradually building intensity as the guitar enters. Complex passages carry progressive jazzy chord progressions, with wind instruments featured prominently throughout the evolving theme.

A2. “Cocalnut” (7:20) – Daniel Schell

Soft, tentative sounds begin the piece before the full band enters around the one-minute mark. Pascale Son moves from vocalizations to wordless scatting, adding an instrumental layer to the arrangement. Bass, piano, and drums provide a solid foundation while the vocals progress from quiet expression to dynamic bursts. Sharp, angular scat lines interact with the instruments, building a rock-infused avant-garde rhythm. Keyboard and guitar passages enter, further expanding the texture, as the piece reaches a climactic, dash-driven peak.

A3. “Amafam” (8:24) – Daniel Schell

The track starts with a drum solo from Robert Dartsch before piano joins, establishing a march-like flow. Vocals enter shortly after, supported by a chunky bass line and textured flute. Daniel Schell and Pascale Son trade lead scatting, including duels with percussion, while the keyboards maintain continuous movement. Midway, piano contours weave with bass and drums, and a final drum display closes the track. Angular POP elements and avant-garde sections merge seamlessly, with repetitive two-note rhythms underscoring extended solo passages before vocals return near the six-and-a-half-minute mark.

B1. “Populi” (3:30) – Daniel Schell

The clavinet introduces the rhythm, soon joined by band and vocals for the first lyrical section. Pascale Son’s acute-angle scat flows through the arrangement, linking solos from guitar, electric piano, and bass. Daniel Schell’s guitar and piano passages build the track’s momentum while the rhythm section maintains steady drive. The pace accelerates toward the end as vocals, piano, bass, and drums push the intensity forward.

B2. “Halucal” (3:50) – Daniel Schell

An instrumental study in texture and rhythm, the track opens with bass flute arpeggios over a traditional jazz chord progression. The band enters with piano, bass, and cymbals, sustaining a brisk dash feeling. Keyboard solos draw focus forward, and bass lines display dynamic expression. The Fender Rhodes underpins the arrangement, creating a cohesive, rhythmically propulsive structure.

B3. “Coloc” (9:47) – Daniel Schell

The piece begins with glossy piano accompanied by cymbals and subtle background vocals. Gradually, bass and drums support the piano-led flow, establishing a quiet yet powerful texture. Pascale Son enters around two minutes, executing complex wordless vocalizations that define the band’s sound. Guitar textures, processed through effects, provide an experimental edge, culminating in a sustained solo. The arrangement grows intricate in the final minutes, layering piano, organ, and angular turns in a progressive structure that closes the side with elaborate interplay.

Bonus tracks

7. “La Partie D’Echecs” [The Chess Game] (2:42) – Daniel Schell

Fast-paced French vocals lead the track over a jazz-rock rhythm, complemented by electric piano and upright bass. Demiquaver scats interlace with intermittent drum hits, while the rhythm section sustains a distinctive jazzy pulse. The track delivers a concise, rhythmically intricate performance grounded in jazz-rock sensibilities.

8. “Sur Deux” (4:32) – Daniel Schell

An instrumental four-piece jazz configuration drives the composition, anchored by a prominent bass line. Brass lines weave around complex contoured movements, while guitar and vibes interact, creating textured interplay. Jazz-rock elements and sustained dash feeling shape the piece, evoking the energy of a live session.

9. “Achille” (10:05) – Daniel Schell

Reserved vocals introduce the track, supported by bass, vibes, and cymbals. The tempo increases briefly before the band shifts into a Latin-influenced rhythm, then slows as instrumental support drops away, highlighting Pascale’s extended vocalizations. Drums and vocals interact, exploring complex rhythmic variations and avant-garde flows. In the final minutes, a lengthy guitar solo adopts a European jazz style, blending intricate instrumental passages with dynamic vocal expression.

10. “L’Admirable Amas Cellulaire Orangé” [The Admirable Orange Cellular Cluster] (2:13) – Daniel Schell

A four-piece jazz ensemble underpins a vocal performance that drives the track forward with mysterious contoured movement. Vibes, vocals, and bass lead the piece, while guitar obbligato enriches the texture, delivering a concise and cohesive closing statement.

Tracklist:

A1. “Postaeolian Train Robbery” (4:13)
A2. “Cocalnut” (7:20)
A3. “Amafam” (8:24)

B1. “Karbok” (2:58)
B2. “Populi” (3:30)
B3. “Halucal” (3:50)
B4. “Coloc” (9:47)

Credits:

Vocals, Oboe – Pascale Son
Bass – Alain Goutier
Drums – Robert Dartsch
Guitar, Flute, Devices, Composed By – Daniel Schell
Keyboards – Charles Loos

Executive Producer – Patrick Stroobants
Management – Dirk Vincken
Photography – Benoît Hennebert
Recorded By – Michel Barez
Road Management – Charlie Vandekerkhove