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Review of Behind The Curtain From



By Andrei Bucureci on September 16, 2014

In music there was always a huge difference between technique and feeling. Is there someone really passionate about music, tonal beauty, unpredictability and sonic surprise to challenge the feeling of the first 5-10 seconds gap between something played with heart and something that aims to impress vituozitate?

Apparently Rodion Rodion and his band G. A. I favor the art. Only apparently, because I’m actually in favor of novelty, originality, psihedelicului, progressivity, the organic and technology actually futuristic music visionary who recorded it. This despite the fact that Giorgio Moroder and Kraftwerk and there is always, but always, a metronome that dictate the order and rigor.


But what comes out of the speakers and music transcend this dimension strict plan and continue to the future: light and eternity. With eyes closed and guitar riffs and synthesizers in the background, with layers of reverb and delayurile where instinct dictates, the music on “Behind The Curtain” seems like ancient Romanian painting landscapes, they do not belong to the past and not the present. The intention seems to be to belong and seek future. So it seems after several auditions. Vision take shape and sound architectural concept. A man, musician, sketch in mind and then give life to matter, sounds, according to certain standards and principles. Revelatoriu talking about a designer. A sound designer, the sonic side of human existence and a local identity. Without any reference or feeling that you have to relate to the music as if it belongs to a geographical rather time points are taken into account.

There is a crucial difference between this album and Lost last year’s release The Lost Tapes: fluidity. The role of the supreme pioneer of electronic music played by Rodion Eastern European Ladislaus Rosca is evident on both releases, but the last album is a show of force a sound designer and composer skills soundtrack. Meanwhile soundtrack was released and cartoons from the eighties science fiction, space missions Delta. Each piece has a monumental and attitude oscillates between melodic and elegies sprints slow and sublime. Rezidor incredible talent and vision of this artist before time. Barely Breaking Even Brits (BBE Music), which released the album, like his countrymen Strut Records, which released last year rightly assert the authenticity of this music heritage provided breathing socio-political context of Romania late seventies and early eighties. With this compilation of rare jewels, do not follow a pattern, or pattern but huge collection of records and tapes composer is rather a philosophical standard, not inspirational. A healthy attitude in terms of art.


Acvilaa Fragment is an introductory march guitar beats and not far from the idea of ​​specifying a continuous loop of contemporary electro. Seems background for a fashion parade eighties without Tariceanu the catwalk. Charm Charm 1 and 2 are two meditative pieces almost pastoral, with a relaxing and floating melody. Contrast is a kind of ode German medieval epic outro which decays completely at the end. It has a syncopated rhythm that only the krautrock bands and proto-electro in Dussledorf be met. Cosmic Game, a possible promotional single proposal has gaps of hard rock heavy metal, but with harmonies backed by synthesizers. It has a tribal and organic, a natural sound dimension emulation feature music Rodion GA in general. Dance Macabre, the first official single of the album, reminiscent of the construction of a rhythm by recording a metal object on the floor rolling. An equally unconventional sampling that have used their song Depeche Mode Stripped a few years later in 1986 by Rodion song and dance but has a melodic but aggressive allure duel. Elastic describes very well the content composition that has a rhythm built as a game of ping-pong game which is self-declared passionate Rodion Rosca. 

Paradox stands out groove balanced and bold guitar riffs but the melody princely hard rock voice. Clearly Rodion listen Black Sabbath and Iron Butterfly troops built with the same aggressive attitude-melodic. A video for this song should contain frames of Michael the Brave’s Nicolaescu. The song has some of the Balkan nationalist pride is shared and still share the euphoria. Pyramid Pyramid 1 and 2 as the other pieces in couplet on “behind the scenes” are like typical classical music interludes. And even make a bridge invisible existence in the 60s and 70s between classical music and electronic music, or between progressive rock and classical music. Point begins with a guitar riff and builds almost indie waves of synthesizers around him and a rhythm krautnian. The song would have been in place a framework for dynamic breathing of any Romanian historical film where horse racing scenes. The Gym is what’s playful song on the album. He clearly playful accents and as natural as possible for a tour of the stadium, whether you’re jogger or doing athletics. The Train makes clear reference to his passion Rodion Rosca industrial sounds. The artist once said that when he first arrived at the station and heard the locomotive, he knew he wanted to be a musician and to remove / do and it sounds like. Waterfall and previous song are kind of bonuses on the disc, they are part of a source other than the bands that would become his debut album Rodion GA. Cascada song has the highest quality of video game soundtrack. Video games that existed at that time in a proto-incipient stage. In the construction of this disc, the songs of resistance, potential speakers and popularized songs are in the middle of the disc: Cosmic Game, Dance Macabre, Elastic and Paradox. Can not be called singles or hits, although in the seventies-eighties Rodion was broadcast on the radio and not rare. There are 37 minutes of unreleased material that arouse nostalgia. A nostalgia and admiration honest, pure before the revelation of what it meant 40 years ago synthesizers. Same respect you require and Silver Apples records Klaus Schulze. Music this is a push out of your comfort zone electronic music conteporane, the shivers down my spine, to surrender to the creative genius.

You once mentioned to those who first read about Rodion as with his comrades from other countries, pioneers and legends of electronic music, made ​​it with little means. Their music was dominated by philosophical concept so effective and divine “Less Is More”. Obviously synthesizers and electric drums represent some less common instruments, but they were just a means of expression, not influenced talent “composer” or attitude that originality was the key experimental music artists in that period. If the artist’s face, which had equipment were electric guitars, appliances Tesla recorded on magnetic tape, the cheapest drum machines and the discovery of a proto-sampling techniques.

Without Rodion G. A. I have understood and accepted, even idolized, bands like New Order, Daft Punk, LCD Soundsystem, Kuedo or M83, although it is likely that none of those mentioned have listened to or even heard of him. Despite his belonging to an era where science fiction soundtracks and Vangelis’s Blade Runner, Dune those from Toto and Brian Eno, Wendy Carlos Tron’s,’s Videodrome Howard Shore, Rodion GA makes this style of music to overcome and transcend the limits even futuristic music by the organic ancestral descriptive. Hieronymus Bosch’s like or Max Ernst, a painter of post-planetary landscapes, post-temporal reality where imagination creates mutations in hybrids complacency. It is recommended Rodion live, because they can see and feel the experience and safety of this brave artist.

Thanks to Andrei Bucureci and everyone at for allowing the reproduction of the article.

Review of Behind The Curtain-The Lost Album on by Matt Bauer


The Lost Tapes was one of last year’s most revelatory reissues, uncovering the work of Romanian psych-electronic trailblazer Rodion Rosca, who founded Rodion G.A. in 1975. Recorded DIY and blending psych, krautrock and progressive influences into an inimitable, avant-garde oeuvre that stood in stark contrast to the oppressive tenor of Romania in the ’70s and ’80s, the group only released two tracks on state-owned record company Electrerecord, making Behind The Curtain a cause for celebration — it features the first complete set of music by Rosca. More cohesive than the tracks that comprised The Lost Tapes, Behind The Curtain finds Rosca indulging his idiosyncratic penchants into more cinematic sounds and tightly structured songs. 

The ominous synths and distorted guitars of “Acvila Fragment” serve as an appropriate preamble. “Contrast” is a flighty, psychedelic, sci-fi number with a perky, nearly electro-funk beat and a bright synthesizer melody, while “Cosmic Game” mines darker territory with fuzzed out guitar riffs, an unforgiving rhythm and freaked out synthesizer effects. The tense “Dans Macabru” is punctuated by breaking glass, and an urgent vibe is sustained throughout the rest of the set on “The Gym” and closer “Waterfall,” which is tempered by the historical circumstances surrounding their recording and the fact that Rosca walked away from music following their completion in 1987. Concurrent with Rosca’s rediscovery and his return to performing is the sad news that he’s living with Hepatitis B and C and has liver cancer. Yet even if he doesn’t record another note of music, Behind The Curtain ensures his pioneering legacy is established.

Thanks to Matt Bauer and everyone at 


Review of Rodion G.A. Behind The Curtain–The Lost Album From Spex on 20th October 2014



More than receptacles for the drawer: On Behind The Curtain – The Lost Album of the Romanian band Rodion GA require analog devices the freedom that was not granted to the musicians

As this country is known little about Eastern European music in general and the work of the Cold War in particular, one notices at the latest when the works of these artists will be re-released without warning. The Lost Tapes of the Romanian musician Rodion Ladislau Roşca and his band Rodion GA were such a case last year. Suddenly there was an electronic music where it was fast with buzzwords like Krautrock and psychedelic at hand, at the same time but a very unique, different look at the history of experimental music allowed – as a post by “behind the curtain”.

Behind The Curtain is because even the programmatic title of Rodion GAs Lost Album, with the image of the band is rounded, which worked at the time of the Ceauşescu regime under difficult conditions. The belated reception can not be explained merely by the sealed-off situation of the Eastern Bloc, but above all by the fact that Rodion GA could hardly publish in Romania. The musical activity was limited to smaller performances and recordings for the drawer.

Thus, the resulting Multi-track pieces of Behind The Curtain, are following a similar approach are like The Lost Tapes, stylistically, however, fall closed. The rock instruments have been adopted in most numbers, instead, the electronics has the say, without completely sacrificing the aesthetics of prog rock or psychedelic. Rodion GAs use of synthesizers is pronounced melodic, very beautiful as in “Charm 1” and “Charm is 2” to hear. The bright upper voice with its easy flute-like sound has a more folkloric than futuristic character, but it so often repeated, that the piece developed an idiosyncratic form of minimalism.

In Rodion G. A. spread the analog devices also exactly the kind of heat that is often invoked by detractors of the digital, and they break again and again out of their seemingly predetermined paths, take the liberty had to miss in everyday life, the musicians themselves. If it is then it rocked conventional times, which is almost a bit of a shock. On the other hand, expresses the fact restore some sovereignty from: The opposition between male konnotiertem, handmade and machine-rock androgynous electro play here somehow not matter. It was simply dissolved.

Thanks to Tim Caspar Boehme and everyone at Spex.




Earlier this year, I embarked upon a musical adventure. It all started just over a year ago, when I received an email. It was from Rodion Ladislau Rosca, who back in the seventies, formed Rodion G.A.  

Rodion had been surfing the net, and discovered my review of the Rodion G.A. compilation The Lost Tapes, which was released last year on Strut Records. This was the start of an exchange of emails. 

Mostly, we discussed music. Occasionally, Rodion sent me one the tracks Rodion G.A. had recorded back in the seventies. Then early this year Rodion sent another track. I replied that the tracks he had sent were good enough to release. That’s when Rodion mentioned there he had more tracks on a master tape. 

This was an exciting development. The Lost Tapes had been released to widespread critical acclaim. There was a resurgence in interest in interest in Rodion G.A’.s music. This was the perfect time for Rodion G.A. to release another album. So I replied to Rodion, saying that if there were enough tracks for an album, I knew plenty of people within the music industry who’d be willing to release them. When Rodion got back in touch, he had good news.

Rodion didn’t just have a few tracks, he had a master tape full of music. This was great news. Rodion G.A. were growing in popularity. If we could get Rodion G.A. another record deal, they would belatedly, received the recognition they so richly deserved. So, in late March, Rodion sent the master tapes to me.

The next couple of weeks, were nerve racking. I was waiting for the Rodion G.A. master tapes winding their way from Romania. They took their time. As time went by, Rodion and I were becoming nervous. Had the master tapes gone missing? Then one day, a battered envelop dropped through the letter box. Inside, were what I’d been waiting for, the Rodion G.A. master tapes. Now was time for me to listen to them.

For the next few hours, I put up the do not disturb sign. I was a man with a mission. That mission was listening to the master tapes. I was almost overwhelmed. The master tapes contained a musical feast of innovative, groundbreaking music. Listening to the music, it was hard to believe it was recorded between 1975 and 1983. Here was music that was way ahead of its time. If it had been released back then, Rodion G.A. would’ve been huge. They still could be.

Straight away, I started getting in touch with people I knew at record companies. I casually mentioned I had someone I wanted them to listen to. The first thing they said, was who? When I said Rodion G.A. that was a different matter. That was different. The opportunity to sign Rodion G.A. didn’t come along every day. They were hooked.

I sent across some of the music on the master tapes. It didn’t take long for an offer to come in. BBE Music were interested in signing Rodion G.A. A contract was drawn up, and the two parties signed the contract in May 2014. 

Now work began on what became Behind The Curtain-The Lost Album, which will be released by BBE Music on 20th October 2014, on CD, LP and digital download. This is the result of three months of hard work by a dedicated team of professionals. It hasn’t been easy though.

The story took a tragic twist in early July. Rodion was diagnosed with hepatitis B and C, and also hepatic cirhosis. His health was worsening. Rodion told me he hadn’t long to live. This was a huge body blow for Rodion. 

For too many years Rodion G.A.’s music had been one of music’s best kept secrets. Now when Rodion G.A.’s music was slowly being discovered by a wider audience, music was about to be robbed of one of its few remaining mavericks. I was determined that Behind The Curtain-The Lost Album would be released in Rodion’s lifetime.

So, I contacted BBE Music. Lee and Julia at BBE Music were fantastic. Just like me, they were determined to move heaven and earth to ensure Behind The Curtain-The Lost Album was released. We were going to try to do the impossible, release Behind The Curtain-The Lost Album on 20th October 2014. That might seem like plenty of time.

That’s not the case. Some record companies spent three or four months promoting an album. BBE Music had only three and a half months to release Behind The Curtain-The Lost Album. There was a lot to do. This included an album cover, sleeve notes, mastering and promotion. So like a modern day A-Team, the BBE Music crew sprung into action.

One of the first things we needed was an album cover. I knew the very man. Jake Holloway, who had designed so many of BBE Music’s releases was who I wanted to do the cover. I asked for Jake and he agreed to come onboard. He knew time was tight, but assured me we could get the cover ready on time. We exchanged ideas about the design, and Jake came up with what’s a stunning album cover well within the time limit. The other thing we needed, was Behind The Curtain-The Lost Album mastered.

That took time, given the age and condition of the master tapes. Two of the best mastering engineers were brought onboard to master Behind The Curtain-The Lost Album. Harvey Summer mastered the fourteen tracks that make up the mainstay of Behind The Curtain-The Lost Album. Painstakingly, he restored the songs to their former glories. It was a long and laborious job. That wasn’t the end of the mastering process.

For the vinyl copy of Behind The Curtain-The Lost Album, we decided to do a luxurious double album. I listened again to the master tapes, and picked eight tracks. Mostly, they’re demos, but demos that showcase a musical innovator at the peak of their powers. We needed these tracks mastered. Harvey wasn’t available. So,  Shawn Joseph mastered the eight bonus. Just like Harvey, he pulled out all the stops. While this was going on, it was all systems go.

With an album cover and Behind The Curtain-The Lost Album mastered, things were looking good. I’d also been busy. 

When Behind The Curtain-The Lost Album was submitted, I’d all the paperwork in place, including the sleeve-notes. I’d also compiled and sequenced the albums. It had been a labour of love. This was an album I really believed in. With all the pieces falling into place, the next couple of months were all about promotion. Little did we know an elephant was about to enter the room. Let’s just say this was a Christian I’d willingly throw to the lions. That’s another story, for another day. However, a story worth telling again, is the story of a musical maverick, Rodion Ladislau Rosca.

It was in Cluj, in North West Romania, on 4th April 1953 that Rodion Ladislau Rosca was born. He is half-Romanian and half-Hungarian. His mother was Hungarian, and brought Rodion up.  

Growing up, Rodion was an inquisitive and restless child. He remembers that at meal times, when he was eating, he would shake his legs and bang around with his hands. Spoons and plates becomes drumsticks and drums. For Rodion’s mother, this was a worrying time. So Rodion was sent to a psychologist. This resulted in Rodion discovering music.

The psychologist suggested that Rodion attended a musical school. This transformed Rodion’s behaviour. Before he started to play guitar Rodion was different from other children. Some people though he was unbalanced. This was far from the case. 

Instead, Rodion needed something to pour his energy into. This was music. It gave something to focus all his energy on.

By the time he was in the sixth grade, one of his classmates had a band. They met and played in a basement. Their instruments were pretty basic. All they had  were a toy drum, a guitar and a tape recorder. Rodion was fascinated by this rudimentary setup. He wanted something similar.

Back home, Rodion told his mother what about his friend’s setup. He wanted the same setup. So he embarked upon a charm offensive. Eventually, it worked. He managed to  convinced his mother to buy him a guitar. He borrowed his friend’s tape recorder and locked himself in his room with the instruments. Soon, Rodion started writing his own songs. He was only fifteen, but he knew what he wanted to do with his life. This was possible, because Rodion grew up in Romania during the open period between 1965 and 1972. 

Growing up, there was a sense of hope for a new generation of young Romanians. This came about when Nicolae Ceaușescu came to power, after the death of Gheorghiu-Dej, on 19th March 1965. 

In the beginning, Nicolae Ceaușescu was a popular leader. He challenged the authority of the U.S.S.R. and ensured that Romania had an independent foreign policy. Under his leadership, Romania withdrew from the Warsaw Pact. The other thing Nicolae Ceaușescu did, was ensure there was a free press. For the young Rodion Ladislau Rosca, Romania between 1965 and 1972, was a good place to grow-up. Little did Rodion and many Romanians know, that this was one of the golden ages of Romania.

During this time, Rodion was exposed to an eclectic selection of musical influences. Each night, he listened to the music that filled the airwaves. Rodion was like a sponge, absorbing an eclectic selection of music. This included everything from rock, pop, psychedelia and jazz . While the music he heard on the radio was primarily English and American. Some of these artists headed to Romania during the open period.

This came about after Nicolae Ceaușescu was invited to the U.S.A. Although Nicolae Ceaușescu was seen as a maverick, he was seen as a friend of the U.S.A. With his easing of the censorship laws, now some of the biggest names in music headed to Romania. 

Among the luminaries of music to tour Romania were Blood, Sweat and Tears, plus jazz legends Lionel Hampton and Louis Armstrong. They were greeted by appreciative audiences, who until then, had only heard these artist on the radio. This included Rodion, who was about immerse himself into the city of Cluj’s music scene.

Cluj sits on the border with Hungary. Between 1965 and 1972, it had a healthy musical scene. Rodion remembers Cluj “as having a thriving and vibrant musical scene. Rodion was about to dive headlong into it.

Among Cluj’s lead bands were prog rock groups like Cromatic and the Experimental Quartet. Soon, Rodion had immersed himself in the local music scene and had established a reputation as a prolific and voracious collector of vinyl. His collecting habit was funded by is sound equipment hire business. He became the go-to-guy for anyone looking to hire PA systems for a concert or wedding. This allowed Rodion to indulge his passion for record collecting.

Soon, his reputation grew, and Rodion became known as “the King of Records.” He would go to any length to add to his beloved vinyl collection. Rodion made cross border trips to Hungary, where he stocked up on hard to find albums. Rodion also had a friend in Norway send him the latest releases. Before long, Rodion had a record collection that was unrivalled.

Rodion’s collection included the classic rock of  Led Zeppelin, The Beatles, Jimi Hendrix and The Who. Rodion didn’t restrict himself to classic rock. He was also interested in the more progressive, electronic bands of the era, including groups from Eastern and Western Europe. This included Jethro Tull, Emerson, Lake and Palmer and Yes. Other favourites included West Germany’s Kraftwerk, East Germany’s Karat, Romania’s Sfinx, Czechoslovakia’s Matador and Hungary’s Skorpio. These eclectic influences would influence Rodion Rosca’s musical career.

From the late sixties, it became apparent that Rodion was going to make a career out of music. To do this, he had to forge his own unique sound. Rock music dominated Romanian music during this period. However, the music Rodion would create between 1969 and 1972, was very different from rock music. 

Using reel-to-reel tape recorders and built around just vocals, guitars and drums. Starting in 1969, Rodion began recording music that was understated, sparse and simple. Sometimes, the music could be describes as improvisational, experimental and haunting. Three years later, Rodion had made tentative steps into the world of music. However, another three years would pass, before Rodion would form Rodion G.A. 

During the three years between Rodion finishing his first recordings, in 1972, and forming Rodion 1975,  the political landscape in Romania changed drastically. For aspiring musicians, this wasn’t good news. Musicians became part of the government propaganda machine. This came about after Nicolae Ceaușescu visited China and North Korea. 

On his return from these visits, Nicolae Ceaușescu was ”inspired” to change direction politically. He came back from his visits an admirer the political and economic ideology of China and North Korea. Worryingly, he admired the cult-like figure of Kim Il Sung. Nicolae Ceaușescu wanted to implement the North Korean policy of Juche Idea. The effect this had on Romania was like turning the clock back to pre-1965.

Suddenly, the role of the Communist Party grew with Romania. This would continue. Censorship returned. Books were banned and burnt. A list of banned authors was circulated. All of a sudden, writers had a reason to be scared. So did musicians. Under the new regime, musicians would become part of the government propaganda machine. Not Rodion Ladislau Rosca.

In 1975, Rodion was working at the Heavy Machinery Manufacturing Plant. This was where he met Gicu Farcas and Adrian Caparu. They were work colleagues. At breaks and in evenings, they listened Rodion’s tapes and suggested forming a band. Originally, Rodion wanted to call the band Fort. It her felt, was a reflection of his “vision.” However, another band were called Fort. So Rodion, Gicu Farcas and Adrian Caparu became Rodion G.A. Gicu and Adrian provided the G.A. in Rodion G.A. For his part, Rodion contributed a myriad of studio equipment. 

By 1975, Rodion had amassed an eclectic selection of equipment and established a reputation as a D.I.Y. tech wizard. He created his own unique way of creating music on reel-to-reel tape recorders, using the various tape machines to multitrack. His nascent studio included several Tesia tape recorders, drum machines, phasers, flangers and fuzz pedals. Rodion’s arsenal of secret musical weapons included a toy Casio VL Tone, an East German Vermone drum machine and a Soviet made Faemi organ. Like the music Rodion G.A. were making, the equipment they were using was leftfield and eclectic. 

Although Rodion G.A. were producing music during music this period, they weren’t releasing music. After all, this was the communist era and the state dominated countries like Romania and there was only one Romanian record label. This was the state-owned Electrecord label. Musicians weren’t going to get rich. Despite this, Rodion G.A. released two tracks. 

These two tracks were recorded during Rodion G.A’s first recording session. They can be found on the Formatti Rock Volume 5 compilation. Then at a second session, five other tracks were recorded. Sadly, they were never released. However, the recording engineer allowed Rodion to record the five tracks onto his own tape machine from the studio’s main mixing desk. This allowed Rodion G.A. to use these tracks to build new tracks. Some of these new tracks were played on Romanian radio stations and reached the top of the Romanian charts. That people thought, was the extent of music Rodion G.A. recorded.

Without further recordings and more publicity and exposure, they weren’t going to achieve a higher profile. Despite this, Rodion G.A. didn’t give up. Instead, they embarked upon a series of extensive tours during the eighties.

During Rodion G.A’s tours, the band played through a custom-made P.A. Amps and speaker cabinets proudly bore the Rodion G.A. logo. This resulted in Rodion G.A. having a totally unique sound, one that bore no similarities to other Romanian groups. Best described as dense, raw, complicated and complex, veering into the realms of classical and prog rock, Rodion G.A’s music was unique and inimitable. They became a firm favourite at festivals throughout Romania, which since 1972, had become a much harsher regime, where bands had to be on their guard. 

Rodion G.A. toured Romania, playing everywhere from festivals to restaurants. Bands had to be on their guard. They never knew when the state censors would arrive at concerts. Luckily, Rodion G.A. became expert at avoiding the state censors, who were known to chastise a group for singing: “yeah, yeah, yeah.” It seemed that for a Romanian band, like Rodion G.A, trying to make a commercial breakthrough during the communist era was almost impossible. After all, they couldn’t release albums, and touring was the only way to lift their profile. However, by the early eighties, other opportunities were coming Rodion’s way.

Away from touring, Rodion contributed the soundtrack to the movie Delta Space Mission during the mid-eighties. Unfortunately, the music Rodion had provided was turned down, and Adrian Enescu was given the job. Then Rodion contributed the soundtracks to plays, ballet and gymnastics exhibitions. Despite being well received, none of these projects provided a lasting legacy for Rodion G.A. By now, the end was almost nigh for one of Romanian music’s great innovators. 

What proved to be Rodion G.A’s final concert took place at Mangalia Festival in 1987. It was around this time that Rodion’s mother had died. This resulted in Rodion walking away from music for twenty-five years. 

During the next twenty-five years, Rodion Ladislau Rosca became a mythical figure. Rumours surrounded his whereabouts. He was an elusive figure. He was distraught after the death of his beloved mother.  Rodion felt “he had been robbed of his closest friend, and the one person he could always rely upon, and trust.” Even now, his mother’s death is a void that has not been filled. Grieving and with the band he founded having split-up, Rodion withdrew from public life.

The rumours surrounding Rodion’s whereabouts refused to go away. Little did anyone know, that Rodion was traveling back and forwards to London. In London, Rodion was making a living as a labourer. His colleagues never knew of Rodion’s past. He was just “Rodion, the guy who loved music.”

Throughout those traumatic times, Rodion still loved music. It was the one constant in his life. He listened to music constantly, and was fascinated in sound. So now living back home in Cluj, it made sense for Rodion to start up a small business, doing what he knew and loved. 

Soon, Rodion was making a living repairing musical equipment and repairing speakers. So much so, that in Cluj, Rodion is known as “the speaker man.” Defiantly, Rodion would say no speaker will defeat “the speaker man.” It was whilst repairing speakers and musical equipment, Rodion was tempted back into making music.

One day, Rodion saw a Casio keyboard for sale. Every day, for a while Rodion walked past the shop selling the Casio keyboard. Then one day, Rodion took the plunge. He walked into the shop and bought the keyboard. Before long, Rodion had written and recorded a few tracks. Rodion was back. Little did he know, many people had been looking for him,

Whist Rodiion had been away from music, many people become interested in the whereabouts of Rodion. Journalists, bloggers and filmmakers were all keen to track down Rodion. One of he first to do so was Luca Sorin.

A blogger and filmmaker, Luca Sorin became interested in the mythology that surrounds Rodion. After months of researching Luca discovered a handful of tracks by Rodion and footage of their 1980 New Year’s Eve concert. He posted this online. This came to the attention of Future Nuggets. They are a collective of musicians and producers who are determined to preserve Romania’s musical heritage. A year later, Rodion G.A. made their comeback.

It was in 2012, that Rodion G.A. made their long awaited and much anticipated comeback. After twenty-five years away from music, Rodion G.A. were back. Rodion was the only original member. They received a rapturous applause, and Rodion the comeback King, was back where he belonged, making music. A year later, the comeback was complete. 

Just a year after their comeback concert, Rodian G.A, who were formed nearly four decades ago,  released a compilation of their music The Lost Tapes, which was released on Strut Records.

The Lost Tapes was released to critical acclaim in May 2013. At last, the wider world were introduced to the enigmatic genius that is Rodion Rosca. Since then, Rodion G.A. have played at a series of concerts and workshops. Berlin, Bucharest and Moscow are just three of the cities to be won over by a musical innovator and maverick, Rodion G.A. Then in April this year, another Rodion G.A. release hit the shops. 

This was none other than Rodion G.A’s soundtrack Delta Space Mission. It was released to celebrate Record Store Day. Fans worldwide were determined to get a copy of this previously unreleased musical Magnus Opus. The lucky ones weren’t disappointed. Far from it. It was a tantalising taste of a mercurial musical genius. However, there’s more to come from Rodion G.A. 

Today sees the release of Behind The Curtain-The Lost Album, which is available as a CD, double LP and digital download. Behind The Curtain-The Lost Album, features fourteen tracks which were written, recorded and produced between 1975 and 1984, by Rodion G.A. Recording took place at his home studio. For Rodion G.A., recording what became Behind The Curtain-The Lost Album was risky way to make a living.

During this period, musicians and artists were persecuted. They were perceived wrongly, as radicals. As a result, Rodion Rosca had to make music underground. He wrote and recorded the twelve tracks on Behind The Curtain-The Lost Album in his basement, safe from the prying eyes of the censors. Many of the instruments that feature on Behind The Curtain-The Lost Album, were built by Rodion himself. After all, Rodion Ladislau Rosca is more than a musician. 

No. On some of the other tapes, were a number of other tracks. They’re a tantalising taste of a pioneering band at the peak of their power. The eight bonus tracks on the vinyl version of Behind The Curtain-The Lost Album are just a sneak preview of Rodion G.A. in full flight. It’s a joy to behold. That’s what I thought when I first heard what became Behind The Curtain-The Lost Album.

At last, over nine months after Rodion first mentioned these tracks, Behind The Curtain-The Lost Album is on its way to finding the wider audience the music deserves. It’ll be released on BBE Music. 

Belatedly, one of the most innovative Eastern European bands make their debut. They’re lead by a true musical maverick, Rodion Rosca. He’s more than a musician though. Much more. He’s an inventor, philosopher, poet and dreamer. He invented many of the instruments that feature on Behind The Curtain-The Lost Album. Other instruments he rescued and modified. His genius extends to transforming everyday devices into musical instruments. Using these musical instruments, Rodion Rosca’s talents as a composer, philosopher, poet and writer shine through. The result was an album of innovative and groundbreaking music, Behind The Curtain. It was intended to be Rodion G.A’s debut album. Sadly, fate intervened and the album was never released.

During the Communist era, there was only one Romanian record label. This was the state-owned Electrecord label. Releasing an album on the Electrecord label wasn’t exactly going to be a profitable enterprise. Rodion wasn’t going to become a rich man. Then fate robbed Rodion of the opportunity of releasing his debut album. 

The tapes of Rodion G.A’s debut album went missing. Nobody knew where they were. Rumours surrounded their whereabouts. Had they fallen into the hands of the state censor? Other rumours were that the music had been stolen by a jealous rival musician and that he’d burnt the tapes. There was even the rumour that Rodion G.A’s debut album had been smuggled out of Romania. Over the years, rumours grew surrounding the mystery over what many people referred to as The Lost Album. Then last year, the mystery was solved.

Rodion found himself living in a cottage in rural Romania. Apart from the occasional concert, Rodion was no longer involved in music. His musical career was another country. He still had the remnants of his makeshift studio. They were now akin to museum pieces. They were a connection to his past. So were the pile of boxes and packing cases. One day, Rodion decided to start sorting through their contents. This was no easy task. It took several weeks. Towards the end of this journey through Rodion’s past, Rodion found some old reel-to-reel tapes in amongst some old photos. 

He had no idea what was on them. Fortunately, Rodion still had his beloved reel-to-reel tape recorder. With some TLC, he had the reel-to-reel tape recorder up and running. He started spending time listening to the old tapes. Some were just ideas for tracks, other recordings of rehearsals. Then Rodion hit the jackpot. 

He found the long lost album. The album that had long been lost, was now found. It had never left Rodion’s possession. All the time, it had been amongst the photos that will feature in  the sleeve-notes to Behind The Curtain-The Lost Album. However, that wasn’t the end of Rodion’s discoveries. He should be commended for his foresight in signing such an innovative and groundbreaking musician, and releasing this long lost, groundbreaking album, Behind The Curtain-The Lost Album.

This should be a joyous time, and a cause for celebration. The music that was for so long lost, has been found and will be issued as Behind The Curtain-The Lost Album on BBE Music. Sadly, my joy is tempered, given that my good friend Rodion Ladislau Rosca is dying. Tragically, Rodion Ladislau Rosca is dying from liver cancer and Hepatitis B and C. This means that music on Behind The Curtain-The Lost Album, could be the last Rodion G.A. album released during Rodion’s lifetime. That will not be the end of Rodion G.A. 

Rodion G.A’s music will forever live on, in the memories of music lovers everywhere. They will continue to cherish the music of a mercurial and enigmatic musical genius, Rodion Ladislau Rosca who I have been fortunate to call my friend. His parting gift to music lovers everywhere is Behind The Curtain-The Lost Album, which features Rodion G.A. doing what they do best, creating innovative and groundbreaking music. That’s almost an understatement.

Describing the music on Behind The Curtain-The Lost Album as innovative is just the start. It’s so much more that. The music is ambitious, brave, inventive, dramatic, experimental, futuristic, melancholy, groundbreaking and way ahead of its time. That’s the case from the opening bars of the genre-melting musical journey that’s Behind The Curtain-The Lost Album.

Literally, musical genres melt into one. Behind The Curtain-The Lost Album isn’t an album of one type of music. Far from it. It’s a journey through musical genres and influences. Everything from rock, Krautrock, electronica, psychedelia, prog rock, avant-garde, experimental and indie rock shine through. So does post punk. Mind you, when Rodion G.A. recorded much of Behind The Curtain-The Lost Album, the genre hadn’t been thought of. No two tracks are the same on Behind The Curtain-The Lost Album.

That’s apparent throughout Behind The Curtain-The Lost Album. From the opening bars of Acvila Fragment, thunderous drums, lo-fi, quivering  synths and subtle hooks combine. After that, Rodion G.A. toys with you during the lost symphony that’s Charm 1 and Charm.

Contrast is aptly titled. Dark, futuristic, with a sci-fi sound, it takes on an urgent, post punk sound. Later, Contrast briefly becomes ethereal. Throughout, though, there’s a nod to Kraftwerk on this innovative musical fusion.

Cosmic Games sees washes and waves of guitar unleashed. They reverberate, quivering and shivering. After that, musical genres melt into one. Prog rock, electronica and psychedelia combine with classic rock on this dramatic opus.

Dans Macabru is an urgent synth lead track. After exploding into life, it takes on a cinematic sound. Bubbling, sci-fi synths, breaking glass and a myriad of sound effects are unleashed. Dramatic, compelling and full of secrets and surprises, it’s a like being locked inside a computer game.

Elastic has a dark, urgent sound. Ominously, the arrangement marches along. All the time, gothic synths set the scene. By the end of the track, it’s like a snapshot of life in Nicolae Ceaușescu’s Romania, where the censors were ready to pounce.

The music on Behind The Curtain-The Lost Album veers between broody, moody, melancholy, gothic and dramatic. Other times it veers between ethereal, austere and anthemic. Sometimes, the music is futuristic, with a sci-fi sound. Its a snapshot of a musical maverick at work.

Paradox features some spellbinding guitar playing. That’s a taste of what’s still to come. Rodion G.A. become. There’s a nod to Brian Wilson at the minute mark. Then Rodion delivers an angry, frustrated vocal. Accompanied by a thunderous rhythm section and driving, searing guitars, this is Rodion G.A. at their best, during an fist pumping anthem, where psychedelia and rock unite.

Piramide 1 and Piramide 2 is another musical movement in two parts. Synths and a drum machine combine Krautrock, electronica, psychedelia and rock. They create a compelling and dramatic musical movement.

Point Spec has a lo-fi cinematic sound. It sounds like part of the soundtrack to a sixties sci-fi sounds. As drums pound, synths similar to those on Acvila Fragment gallop along. They’ve a similar tempo and sound. Another similarity are the subtle hooks that make this an irresistible track.

Exploding into life, The Gym bristles with musical electricity. It’s as if Rodion G.A. are desperate to lay this track down. No wonder. It’s a glorious mixture of energy and futuristic, sci-fi sounds. Drums frantically drive the arrangement along. Sound effects and sirens are unleashed. You’re exhausted listening to the track. Even the breakdown doesn’t allow you to recover. Before you know it, The Gym explodes back into life, reaching a glorious crescendo.

The Train has similarities with The Gym. It too features the same futuristic, sci-fi sounds, sound effects and sirens. Add to the equation pounding drums that punish your speakers, as elements of electronica, Krautrock, prog rock and rock combine. As a result, Rodion G.A. create a track that is a reminder of Neu, Can and Kraftwerk.

Closing the CD version of  Behind The Curtain-The Lost Album is The Waterfall. Squelchy, grizzled synths churn before West meets East. There’s a West Coast sound to the guitar. It has a very familiar sound. Then banks of prog rock synths threaten to kick loose. They never quite do.  As they buzz, mesmerically, a myriad of sounds flit in and out of the arrangement. The guitar and synths play leading roles during this intriguing track.

That’s not the end of Behind The Curtain-The Lost Album which was released on 20th October 2014. Not if you buy the vinyl version. You’ll have the opportunity to enjoy eight bonus tracks. It’s hard to choose the highlights. However, The Doctor is a classic fist pumping anthem that you’ll never tire of. My Submarine and Opus are both well worth mentioning. So is the poignant Here I Am, a short minute long track, which closes the vinyl version of Behind The Curtain-The Lost Album. Just like the fourteen tracks on the CD version of Behind The Curtain-The Lost Album,you’ll be hard pushed to believe that the music was recorded between 1975 and 1984. 

Mind you, Rodion G.A. were a visionary group. Lead by the enigmatic maverick, Rodion Ladislau Rosca. If Rodion G.A. had been either a British or American band, they’d have enjoyed the critical acclaim and commercial success their talent deserved. Sadly, their most productive period was during communist rule in Romania. That meant that their music never found the wider audience it so richly deserved. That’s what makes the story of Rodion G.A. almost tragic. Through no fault of their own, they were unable to enjoy the success their talent so obviously deserved. 

Maybe now and somewhat belatedly, Rodion G.A.’s music will find the audience that it so richly deserves. Gradually, Rodion G.A.’s music is growing in popularity. This started with The Lost Tapes, and then Delta Space Mission. Hopefully, Behind The Curtain-The Lost Album will transform the fortunes of Rodion G.A. They were a truly innovative group, who produced progressive, ambitious and eclectic music.

Although innovative is an overused word, Rodion G.A. were innovative group. They weren’t afraid to push musical boundaries. Rodion G.A. didn’t follow fashions or trends. Instead, they were innovators, who fused musical genres. The result was a unique, enthralling and captivating sound that was unlike anything else of its time. 

Indeed, Rodion G.A. were way ahead of their time. That’s apparent on Behind The Curtain-The Lost Album. Only now, thirty years after Rodion G.A. entered a recording studio for the last time, is music gradually catching up on them. However, Rodion G.A. are content to know that they were trendsetters and innovators, whose music at last, is finding the audience it deserves. 

The release of a new album, should be a joyous time, and a cause for celebration. That should be the case with Behind The Curtain-The Lost Album. However, joy is tempered with sadness. One of the founding members of Rodion G.A., Rodion Ladislau Rosca, that musical maverick is dying. 

Tragically, Rodion Ladislau Rosca is dying from liver cancer and Hepatitis B and C. This means that music on Behind The Curtain-The Lost Album, could be the last Rodion G.A. album released during Rodion’s lifetime. That will not be the end of Rodion G.A. 

Rodion G.A’s music will forever live on, in the memories of music lovers everywhere. They will continue to cherish the music of a mercurial and enigmatic musical genius, Rodion Ladislau Rosca.

His parting gift to music lovers everywhere is Behind The Curtain-The Lost Album, which features Rodion G.A. doing what they do best, creating innovative and groundbreaking music.







Rodion G.A. The Lost Tapes-Review on

If you didn’t know the back-story, the genre, the label or any other contextual information and just put Rodion G.A. on then it’s possible that your head might very well explode. The music of Romanian producer Rodion Rosca is both good and confounding, drawing influence from everything from prog to komische to no wave music, more than likely without having heard any of the above. His sounds don’t so much redefine music, as consume and bastardise it into his own unique style.

In a retro futurist twist, Rodion was making these sounds from behind the iron curtain between 1978 and 1983. While he used early synths, electric guitar, a bunch of self-made pedals and primitive drum machines, his main compositional tools were reel-to-reel tape machines. There’s a real shrillness to some of the synth work here, and the percussion is stark and metronomic. Yet there’s also something that’s much more than the sum of its parts, a certain experimental inquisitiveness where you get the sense that Rodion and his band are making it up as they go along – and loving it.

Not just raw, the music is dark and the electronics are noisy, strange and psychedelic, at times feeling barely in control. This may be the reason that Rodion G.A. only ever had two of their more rock-orientated singles released, despite receiving radioplay and touring relentlessly. This is the band’s lost material and it could’ve easily been made yesterday. It’s quite diverse, with everything from vocals to piano appearing between the flanged-out electrics. It maintains a kind of militant minimalness, yet this primitive, noisy electro-pop music is endlessly engaging, demonstrating that just because the path wasn’t travelled, it doesn’t mean we shouldn’t be on it.

Thanks to



Review of The Lost Tapes In


Here’s a crate-digger’s wet dream, music that sounds retro-contemporary enough to be a sophisticated producer’s fiction but really is, as the title suggests, compiled from lost tapes from a communist Europe 30 years past.

Rodion G.A. was a group formed in Romania in 1975 by Rodion Roșca and band members Gicu Frca and Adrian Cpraru. The tracks compiled here were recorded between 1978 and 1983, a time of political repression under the Ceaușescu regime, and there’s a grittiness to this music that sets Radion G.A. apart from contemporaneous, and these days much better-known purveyors of psychedelic prog, early electronica and Krautrock – aspects of all of which feed into this remarkable, and instantly appealing music.

Texturally, the Rodion G.A. sound is very much a product of its time, but Rodion’s arrangements and methodologies are highly distinctive. Even with the benefit of hindsight, present-day retro pasticheurs concoct new genre blends like these only in their dreams. Here are progressive rock moves in Krautrock grooves; a raw, homespun take on analogue electronic music; and programmed rhythms with a rawness and immediacy that belies their finesse.

Strut’s press notes for The Lost Tapes give an interesting insight into Rodion’s methodology:

“Rosca improvised techniques of composing using reel to reels. Surrounded by three or four Tesla tape machines, he would record beats and guitar on one channel of the tape, then stop and add other instruments on the other. He would then use other machines to add effects and delays on both instruments and vocals. Other tools in his armoury included an East German Vermona drum machine, a toy Casio VL Tone and a small Russian organ to which he added phaser, flanger and delay pedals. For the bands’ gigs, he made his own rig with Rodion G.A.-branded speaker boxes and amps.”

Tangerine Dream and Italian horror movie soundtrackers Goblin are (simultaneously) inescapable referents, as are Kraftwerk, although a track like “Citadela” hints at sounds the latter might have made only had they not embraced their inner robot. The texture and layering of “Zephyr” suggests a Lee ‘Scratch’ Perry Kraftwerk dub—the storm fx drop-ins are a very Perry touch—though there are no dub effects per se; the analog is Perry’s and Rodion’s shared love of bold, low-fi analogue interventions.

On “Salt 83″, processed guitar anchors synth that’s just too wayward to be truly anthemic, while wordless vocals hint at the bastardised glamorama that’s to follow on the chug-along “Disco Mania”.

“Citadela” and “Zephyr” are just two among a number of tracks propelled by motorik synthesized percussion, but despite the ambition of Rodion’s productions, his band’s studio work has the immediacy of live performance: “Imagini Din Vis” rumbles along on a meaty kit drum backbeat.

Rodion G.A. sometimes seem to anticipate future trends. While aspects of “Caravane” sound similar to Pink Floyd’s “See Emily Play”, others suggest Gary Numan’s “Cars” (mind, it’s darker, weirder, and more intense than either). If you can play “Cantec Fulger” at half speed, its exposition might sound something like pre-millennial Tricky.

“In Linistea Noptii” makes for a downtempo ending to an album as rich in variety as it is in immediacy: amplifier hum and echo fx from a Rhodes glint in ambient gloaming around a neoclassical melody played on piano and sworls of synth and processed guitar.

This is rich listening. I want to hear more, but it seems there’s little else on record besides two tracks recorded for a compilation album, Romanian Rock Vol. 6, which was released on the state label Electrecord in 1981 (unsurprisingly perhaps, there’s no trace of it on Discogs). Before the group’s split in 1987, there was also an aborted animated movie OST, and an unlikely appearance on Romanian TV, for New Years Eve 1980. Scrappy YouTube videos of a recent performance in Bucharest show Rodion engaging in a Q&A session (in Hungarian, natch.) and Lost Tapes playbacks to archive film.

Thanks to



The Bizarre Synth Wizardry of Long-Lost Romanian Band Rodion G.A.-Review by Dave Segal for


Think all of the great, obscure music’s been mined by now? Think again.

We’re still excavating gems from countries not traditionally known as musical powerhouses (expect revelatory unearthings of music from the Madagascar psych-rock and Lichtenstein power-electronics scenes in the next five years). Another case in point is the imminent release of Romanian weirdos Rodion G.A..’s The Lost Tapes via Strut Records, in conjunction with Future Nuggets and Ambassador’s Reception. Synthesist/songwriter Rodion Ladislau Roșca cut some amazing tracks from the mid ’70s through the ’80s with bandmates Gicu Fărcaș and Adrian Căpraru. The 10 songs gathered here traverse oddball synth pop, baroque European prog, spacey funk rock, and neo-classical composition. Rodion G.A. were off in their own world, probably charming the hell out of very few people and baffling many more. Now with our sophisticated ears primed for anything and everything, Rodion G.A. should get a more welcome reception than they did during Ceausescu’s reign.

Thanks to