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27 December 2017
By Frans de Waard in Vital #1112 (Netherlands), December 27, 2017

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“No matter what it is, Political Ritual plays it with sheer intensity and delivers a most powerful record. […] I am sure if a riot needed a soundtrack this duo could play one.”

So far I assumed that Ambiances Magnetiques was mainly a label devoted to a wide variety of improvised music, in all its guises. Perhaps Political Ritual is also along the lines of that, but it sounds surely quite a bit different. It is a duo of Felix Antoine Morin and Maxime Corbeil-Perron and they use ‘analogue modular and digital synthesis and incorporate invented wind instruments, traditional Balinese percussion, field recordings and digital signal processing’, which still sounds quite different than what is pressed on this LP. It is, quite frankly, a pretty noisy beast, this record. It is very rich with electronic sound, pushing sonic boundaries, with minimalist beats, and yet also it is not without harmony, such as the processed accordion on ‘ Ceremonie ’. It eventually gets all a bit distorted here and the needle almost jumps off because of all the frequencies cut in these grooves, but it goes well. The dynamic range of the music is enormous, I would think. From deep end bass to high pitched frequencies, but I’d like to emphasize that, even under the heavy weight of some of this, this is not a record about (improvised) noise. Political Ritual therefore has too many other interests and tricks up their sleeves; be it drone, massive ambient or the Pan Sonic inspired single bass beat, it all has a place in this music. No matter what it is, Political Ritual plays it with sheer intensity and delivers a most powerful record. I must admit that invented wind instruments and/or Balinese percussion seemed to instruments that I didn’t recognize in this music, and all seemed to find their origins in electronics, be it analogue or digital. I am not sure what and if ‘political’ and/or ‘ritual’ mean in this context but if it has to do with creating something forceful they surely managed to do so very well. This is not music you stick on for pure pleasure, but also to arrive at some agitated state. I am sure if a riot needed a soundtrack this duo could play one.

blogue@press-5770 press@5770
23 December 2017

We suggest you check out Revue & corrigée #114 by Various artists, the latest addition to our shop.

19 December 2017

We suggest you check out Fleur persane by Perséides, the latest addition to our shop.

16 December 2017
By Mike Borella in Avant Music News, December 16, 2017

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“Given how difficult it is to break new ground in this field, credit is due to Corbeil-Perron and Morin for a unique amalgam that is somehow both fresh and familiar. Strong recommendation.”

Thumping rhythms, drones, effects, and subtle keyboard-laden atmospherics are the primary drivers of Political Ritual, a two-track album from the group of the same name. Consisting of the duo of Maxime Corbeil-Perron and Félix-Antoine Morin, Political Ritual explores the fringes of space-rock, ambient, modern composition, and minimalist techno with a hazy irreverence.

Cérémonie, at 20 minutes, is the livelier of the pieces, featuring the aforementioned driving, trance-inducing rhythms overlaid with grungy drones, as well as brief synth and keyboard themes. Borrowing techniques from experimental modern classical music, Political Ritual blends captured sounds with synthetic creations in a seamless fashion. Projection_cathodique, also clocking in right around 20 minutes, focuses on a set of Berlin-school drones accentuated with bells and static-laden background ambiance. From time to time, electroacoustic elements and scratchy rhythmic effects are introduced. But the emphasis remains on deep and echoing sinusoids.

Political Ritual, the album, is a disturbing yet cinematic exploration of indistinct abstractions combined with concrete musical aspects. Given how difficult it is to break new ground in this field, credit is due to Corbeil-Perron and Morin for a unique amalgam that is somehow both fresh and familiar. Strong recommendation.

blogue@press-5769 press@5769
1 December 2017
By Tom Greenland in The New York City Jazz Record (USA), December 1, 2017

Press Clipping

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1 December 2017
By Marc Chénard in La Scena Musicale #23:4 (Québec), December 1, 2017

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“… l’ensemble ressort davantage, dans un premier temps par des jeux d’improvisation collective dirigée et, dans un second, par une ligne thématique en fin de parcours.”

Récipiendaire d’une bourse de carrière en 2013, Jean Derome a investi son pécule dans une série de projets spéciaux. Le premier, créé en mai 2015, fait l’objet de ce tout nouveau disque lancé le 14 décembre. Pour saisir la pleine portée de cette entreprise, de loin la plus ambitieuse de Derome, une lecture des notes de l’artiste s’impose. En bref, l’œuvre entière repose sur la fréquence de 60 Hz, norme utilisée dans le réseau hydro-électrique nord-américain. En musique, cela se traduit par une note située entre le si bémol et le si naturel, celle-ci servant de tonalité de base. Derome explore donc la microtonalité, ce qui nécessite une certaine adaptation de l’oreille au début. Pour réaliser sa vision, le compositeur a recruté 19 collègues jouant toute une gamme d’instruments, incluant des synthés et tourne-disques. À une seconde près des 60 minutes et divisé en 16 plages, le disque se déploie assez lentement dans la première moitié. Outre un ostinato de basse quasi ellingtonien dans la sixième plage, il y a peu de matière compositionnelle dans cette tranche; il faudra donc attendre la dixième plage et les suivantes pour que l’ensemble ressorte davantage, dans un premier temps par des jeux d’improvisation collective dirigée et, dans un second, par une ligne thématique en fin de parcours. En tant que disque, cette œuvre conceptuelle pèche par des longueurs, mais ceux qui ont pu assister à la captation en concert de cet enregistrement le printemps dernier au Gesù pourront sans doute avoir un autre… buzz.

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