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Mi La le mémoire est chasse la mille voix têtes de tête dans de sa Ris neige: le monstre absent Et Sans

“Throughout shapeless masses, shady harmonies and failed attempts at incoherence, using any unavailable means possible, every unecessary hairy instruments (electronixxx and/or acoustixxx), Alexandre St-Onge and Roger Tellier-Craig explore and explicitely exploit the ever changing entity that will become Et Sans. They are almost as pretentious as you… ”

The object itself is a context of destruction and accumulation of erasure.

Mi La le mémoire est chasse la mille voix têtes de tête dans de sa Ris neige: le monstre absent

Et Sans

Alexandre St-Onge, Roger Tellier-Craig

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In the press

  • Richard Moule, Signal to Noise, no. 36, January 1, 2005

Review

Richard Moule, Signal to Noise, no. 36, January 1, 2005

Christof Migone’s label brings us this collaboration between two Montréal electroacoustic improviser/composers. Roger Tellier-Craig is a guitarist with the Montréal noise rock group, Le Fly Pan Am and a former member of Godspeed You! Black Emperor, while Alexandre St-Onge has collaborated with Sam Shalabi and David Kristian, among others. St-Onge and Migone also have a duo entitled Undo which, in live performance, has consisted of them swirling contact mics around in their mouths while manipulating the sounds in realtime. This 20-minute 3” CD is in the same spirit as il seems to abolish any conventional notions of coherent sound organization. Firstly, it is pointless trying to make any instrumental distinctions or any organic and electronic demarcations here. Sound fields of fizzing room hiss or are that contact mic hiss are the entry points and soon becomes the background noise in the early part of the piece. Gradually, unadorned and manipulaied rolling clicks, clacks and chomps kick in at irregular intervals; the manipulated clacks like the liquid swiris of someone sucking or biting on a candy. As the piece grows, the static and frequencies increase in intensity until around the mid-point we are in the centre of a digital/analog/musique concrète (!) downpour. The last third of the piece dissolves into standard grainy glitch operations, but it is the first third with its tactile call and response that reaily marks it for its invention and ingenuity.

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