A timeless masterpiece! Finally available on LP, first solo recording album from Ariel Kalma, recorded in 1975. After a long journey to India where he learnt the basics of modal music and singing, Ariel was inspired by the fusion of ancient and modern ways of playing music in the 70s with saxophone, ethnic instruments, effects, electric instruments and electronic filters. Kalma is also known for have played in albums by other French experimental artists like Delired Chameleon Family, Nyl, Heldon...

Born and raised in Paris, France, Ariel started playing the recorder at age 9 and saxophone at 15. During his successive studies of Electronics, Computer Science, Music and Art in Paris, Ariel performed with several bands, then toured the world and visited Europe, Japan, India, Eastern Canada, and parts of the USA. Apart from rhythm & blues, pop and jazz, he acquired assorted experiences in middle-age French, electro-acoustic, and modal music. All the travels broadened Ariel's musical horizons tremendously; listening to and playing with different styles, people, and instruments, intricate scales, techniques, timing and rhythms.

After learning circular breathing from a snake charmer in India, Ariel practiced it on soprano sax - for many sleepless nights - in the basement of a cathedral in New York (when he was not playing upstairs on the large harmonium). Returning to France in late ‘76, Ariel could include those endless notes into his own long-delay-effect system with which he toured, playing solo concerts. Ariel contributed to the birth of (then) new music genres: minimalist, space, ambient, new age, electronic etc. With his passion for recording and sound, Ariel always had a home studio and was also technical assistant to some of the composers at Paris' Ina Grm – Musical Research Group part of the INA (Audiovisual National Institute), where he recorded some of his compositions.

Le Temps des Moissons is one of the rare albums that could conceptually occupy infinite time and space. While the main pieces swell and decay over time, they don’t cater to a beginning, middle, or end in a traditional Western sense, and the locked groove that originally declared the album's finish was without a doubt part of Kalma’s vision for this music (Tinymixtape)