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26 December 2012

We suggest you check out Revue & corrigée #94 by Various artists, the latest addition to our shop.

22 December 2012
By François Couture in Monsieur Délire (Québec), December 22, 2012

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Ensemble Supermusique has pushed back its own limits, taking its conceptualization of musique actuelle even further. The works are destabilizing, often unpredictable, and they provide ample food for thought.”

This is, recorded in the studio in the fall of 2012, the music of Ensemble Supermusique’s latest program, Bruit court-circuit, premiered at FIMAV 2012 and reprised in Montréal last October. Six noise-based works for a nine-piece ensemble — compositions involving graphic notation, chance operations, and extended techniques of all kinds. The noise part is both of acoustic and electronic origin. Martin Tétreault’s two pieces wittingly oppose rhythm and deconstruction. SM: re-trait de l’abjection by Alexandre St-Onge is a VERY strange thing (yes, strange even for me), and it’s not more convincing on record than it was on stage. Danielle Palardy Roger’s Acouphènes en partage is the album’s highlight, due to the quality of the writing and the careful execution. The other two compositions are by Joane Hétu and Jean Derome. With this CD, Ensemble Supermusique has pushed back its own limits, taking its conceptualization of musique actuelle even further. The works are destabilizing, often unpredictable, and they provide ample food for thought.

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20 December 2012
By François Couture in Monsieur Délire (Québec), December 20, 2012

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“A record of troubling beauty”

La femme territoire is both the logical next step and the complete opposite of Joane Hétu’s previous work Filature. While Filature was a large-scale production with lots of people involved, lots of rhythm too, La femme territoire is limited to five performers and plays out in a Spartan, highly-conceptualized setting. Both are multimedia works, but while Filature was trying to overload your senses, La femme territoire is offering less in order to say more, and music, poetry, dance, video art, and performance art are all more tightly intertwined. Obviously, this CD does not document the whole project (though the booklet contains several photos of the production), and I was worried about that, since I have had the pleasure of seeing the full production of La femme territoire in October 2010. Well, the music does well on its own. I’d even say it imposes itself. These 21 fragments of humus are not easy to absorb, but beyond their stripped-down nature, the deconstruction, the atomization of musical elements, I reconnect with everything that makes Joane… Joane: a series of dichotomies like melody/noise, organization/improvisation, tenderness/desire, reflection/craziness. A record of troubling beauty. With Susanna Hood, Alice Tougas St-Jak, Jean Derome, and Isaiah Ceccarelli.

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19 December 2012
By François Couture in Monsieur Délire (Québec), December 19, 2012

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“Wow”

In my mind, that “wow” in the title means “Wow, Ambiances Magnétiques is still alive and kicking!”. After 12+ months of silence, the venerable Montréal musique actuelle label is releasing three new albums on the verge of 2013. Starting with this Wow!, Trio Derome Guilbeault Tanguay’s fourth (their fifth if you include the live DVD). For this CD, the avant-jazz trio is recycling the recipe used on their previous effort Danse à l’Anvers, i.e. a blend of standards, quasi-standards, and Derome originals. Lennie Tristano and Eric Dolphy get added to their repertoire, along with The Best Things in Life Are Free, which continues the band’s tradition of having Jean Derome sing on one track per album. Derome’s Palestine and La danse de Raphaëlle are highlights, along with a medley of You Can Depend On Me & Wow. Derome plays a very warm baritone sax and cheeky flute — no bird calls or other noise-makers, this album sticks to a traditional jazz instrumentarium. Bassist Normand Guilbeault is in particularly good shape on this recording, and drummer Pierre Tanguay brilliantly hijacks his ideas instead of simply falling in line with them. But that’s what you come to expect from these guys.

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18 December 2012
By François Couture in Monsieur Délire (Québec), December 18, 2012

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“Less noise-based, more electroacoustic-like than his previous solo albums”

… that being said, this new CD by St-Onge sounds nothing like the one by Xanthocephalus. On Ailleurs, the Montréal-based bassist aligns tracks of computer-assisted electric bass. Each note triggers a digital sound action. Less noise-based, more electroacoustic-like than his previous solo albums. Ailleurs is dry, cerebral, and some of St-Onge’s choices in digital sound palette are questionable.

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