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Stuart Broomer, Musicworks, no 132, 1 décembre 2018
mardi 18 décembre 2018 Presse

… a wonder of acoustic activity.

HMMH redefines the possibilities in a flowing show with unexpected textures

Alayne McGregor,, 12 décembre 2018
jeudi 13 décembre 2018 Presse

When you’re operating on the bleeding edge of music, the old rules don’t precisely apply.

New instruments, new methods of playing them, new combinations — all those characterized HMMH’s concert at IMOO on Sunday. It was not a show that one could judge based on its fidelity to a musical text — it was, after all, completely improvised — nor was there a specific style or genre that it adhered to.

It was as much visual as aural — what exactly is making that sound? And it was almost as much of a process of exploration for the audience as it was for the musicians, as one listened to and absorbed the music that was being born in the moment.

What it did have in common with more conventional music was the intensity and collaboration which the musicians brought to this performance. While only 45 minutes long, the show was very dense and multi-layered. One could never be sure one was hearing or seeing everything that was going on because each musician was doing so much.

Four musicians: three from Montréal’s active creative music scene and one from Germany, comprise HMMH. Saxophonist and vocalist Joane Hétu is best known as co-leader of Ensemble SuperMusique; strings player Pierre-Yves Martel is a prominent composer and investigator of new sonic possibilities; German tuba player Carl Ludwig Hübsch is a frequent collaborator with Martel; and pianist Émilie Mouchous makes electronic instruments.

For this concert, Mouchous played a vintage 70s-era KORG synthesizer; Martel primarily played his viola da gamba but also had a zither in front of him and blew into tiny, high-pitched whistles; and Hübsch was mainly on his tuba, which he muted with unconventional items which included a large metal mixing bowl, a white styrofoam hemisphere, a cylindrical cookie tin, and a white fluffy soft ball. He also had a collection of small metal bowls on which he created ringing metallic sounds; he would occasionally scrape a plastic cup along the edge of his tuba bell, or attach an uninflated balloon to his tuba and lightly strum it, letting the sound resonate through the instrument.

Hétu had the largest number of possibilities. Besides her alto saxophone and her voice, she could pick from a whole table filled with noisemakers, hand fans, bells, whistles/pipes, a small metal whisk, graters, a metal bowl, plastic balls, marbles, a long corrugated plastic tube, balloons, and more. She chose to play only some of these objects, primarily the fans, the long tube, and the noisemakers.

The audience was extremely quiet and engrossed throughout the show; the two times that new listeners opened the outside door to enter caused a noticeable stir. There was a considerable dynamic range, going down to near-silence. I appreciated, though, that HMMH, unlike some other improvising ensembles I’ve heard, carefully avoided really loud sounds or a cacophony; instead, the overall volume was controlled and the sound nuanced.

The ensemble opened with a resonant lament. Martel sang into his viola, and Hétu began chanting, letting her voice ring back and forth in a formal and invocatory manner. Over muted tuba and light zither, Hétu continued to call out and then sing wordlessly over flapping plastic percussion. Others joined in to create an ambient rush of sound, with foghorn tuba on the deep end to bright metallic clinks and Hétu’s falsetto signing on top.

While there were certainly conventional musical sounds — the underlying drone or quiet lines from Mouchous’ synthesizer, the melodic or scraping bowing of Martel’s viola, and light and dark tuba lines, even more noticeable were the non-musical textures. Crumpling paper, rattles, static, electronic whines, noisemaker squawks and flapping, tapping, and high-pitched vibrations from singing down a long plastic tube and then twirling it, all contributed to the sound. At one point, Martel bowed his viola through what appeared to be a sheet of plastic or thick cellophane, muting the sound and creating high-pitched sounds and rustles.

It was a constantly-shifting river of sound, often unworldly, and occasionally even eerie.

HMMH has just released a new album, Fleur de Chaos, and had it for sale at the show. While I couldn’t say that anything they played on Sunday was precisely from that CD, the music certainly had the same thoughtful, cooperative vibe as what I had heard from the album.

What was particularly interesting about the show was how well the musicians incorporated their unconventional sounds into the more standard melodies and rhythms they also created. The music stayed compelling because it was not just a scattershot of effects, but rather a musical conversation that built upon Western musical traditions.

It was a fascinating look at possibilities, and the music which can be created by imagining different ways to use one’s voice, different ways to play, and different methods of creating sound.

It was a fascinating look at possibilities, and the music which can be created by imagining different ways to use one’s voice, different ways to play, and different methods of creating sound.’s Jazz pick of the week: HMMH at General Assembly, 6 décembre 2018
mercredi 12 décembre 2018 Presse

Eerie, haunting, reverberant, innovative. Those are some of the words you can apply to the music of the group HMMH (HétuMartelMouchousHübsch). Composed of well-known members of Quebec’s avant-garde jazz and creative music scene, the quartet has just released a new album Fleur de chaos. They’ll be showcasing this album in an IMOO series show at General Assembly on Sunday.

Saxophonist and composer Joane Hétu has co-directed the Ensemble SuperMusique, a major force in Quebec’s jazz scene, since its founding in 1998, as well as the weekly series Mercredimusics since 2002. Pierre-Yves Martel’s main instrument is the viola da gamba, but he has reinterpreted this traditional instrument for a new century, creating “an authentic musical language through non-conventional techniques and instrumental preparations”, He he also works outside of instrumental music altogether, using a variety of objects rife with new sonic possibilities, from contact-mics and speakers to motors, wheels, surfaces and textures. Ottawa audiences have most often heard composer and tuba player Carl Ludwig Hübsch through his trio with Martel, Hübsch Zoubek Martel, which plays improvised music characterized by the transparent overlaying of wonderful timbres through intelligent-but-spontaneous structures. Émilie Mouchous “makes electronic instruments that induce touch and movement that find their context in improvised performance and installation. Inventor of the term ’mouth feedback,’ she uses a panoply of everyday and absurd objects, and enjoys ’playing the spaces’ that receive her.”

Eerie, haunting, reverberant, innovative.


Ken Waxman, The WholeNote, 1 décembre 2018
lundi 10 décembre 2018 Presse

… the fascination in tse’s presence is how these sounds, designed with understated, overlapping restrictions, continue to hold aural interest during the evolution of each track.

HCMF 2018: HISS@10, Kudzu, Fast Gold Butterflies

Simon Cummings, 5:4, 22 novembre 2018
jeudi 22 novembre 2018 Presse

[…] The only other work of substance in this concert was Pierre Alexandre Tremblay’s Bucolic & Broken. And what substance! Here, and only here, was a true demonstration of the surround capabilities of HISS. But it wasn’t just the positioning of sounds, Tremblay’s choice of sources – ranging from a scratching pencil to a boiling kettle to birdsong to a tinkling piano gesture to a woman walking her dog – were superbly imaginative, and the way these were juxtaposed into a strange structural form was unconventional but completely convincing. It wasn’t in the usual sense acousmatic, Tremblay instead presenting these sounds as found sound objects arranged into a kind of spacialised collage. But what set the piece apart from almost everything else in this concert (and, perhaps, most concerts) was its demonstration of Tremblay’s very obvious playfulness and a palpable sense of wonder at the sounds he’s working with. For electronic music to be as accomplished as this while being so much fun is a rare combination. […]

For electronic music to be as accomplished as this while being so much fun is a rare combination.

HCMF 2018: United Instruments of Lucilin, Harriet

Simon Cummings, 5:4, 21 novembre 2018
mercredi 21 novembre 2018 Presse

[…] In Pierre Alexandre Tremblay’s electroacoustic Un fil rouge the electronics were for the most part uncannily present – which is to say that they felt like a tangible yet invisible additional performer on stage. They manifested most prominently in a recurring motif, extending the ensemble’s tutti accents into an accelerating (and occasionally decelerating) sequence of impacts. This motif recurred so often, in fact, that it became in essence a refrain, between which were a number of episodes providing a contrast to its impetus and momentum. Though they exhibited far less energy, these episodes were the most striking moments of the piece, Tremblay more prepared to let the material drift and linger, resulting in beautiful, dreamy sequences. Even when they were pushed along, though, this episodes remained distinct in the way they seemed more ragged, the result of playful spontaneity driven by an exciting bubbling sense of abandon. […]

… in beautiful, dreamy sequences.

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